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v ^»^ v m || LATE NEWS FROM COAST TO COAST 



SAN FRANCISCO AREA— Dick Oxtof 

Rough days are ahead for local jazz groups, 
or so it would seem, judging by the large 
crowds NOT seen at the active spots these 
nights. If anyone has any spare dough it 
must be in the old Christmas sock, because 
nobody is spending very much to hear jazz 
bands. 

Kid Ory was drawing good Friday and 
Saturday Night crowds, but not enough to 
counteract the week night losses incurred by 
the management at the Venus Club. 

Bob Scobey's Alexander's Jazz Band across 
the Bay at the Melody Club was having diffi- 
culty cracking a mere three night nut, with 
both Friday and Sunday crowds falling off and 
Saturday's barely taking up the slack. 

Only Hambone Kelly's, with its long time 
following and its really-fine joint, is managing 
to support a band six nights a week, but, of 
course, in this case, Lu Watters' Band is old 
Hambone Kelly himself. 

Hambone's took the wraps off the place on 
Nov. I, when they hired Eddie Condon for a 
Sunday afternoon ball. It was a successful 
venture. At least nobody lost any sheckels. 
And the Watters boys undoubtedly made new 
friends — people who came to hear Condon 
and are now likely to return to hear more of 
Watters. The band consisted of Eddie, Wild 
Bill Davison, Warren Smith, Matty Matlock, Al 
Mack, Morie Feld, and Pat Patton. The Watters 
band took over at 8 to complete the double- 
header attraction, and as a result of the en- 
thusiastic reception the affair received, Ham- 
bone Kelly's is planning to stage similar shin- 
digs once a month. 

BOSTON— Bob Parent 

Ed Hall's fine quartet at the Savoy Cafe is 
the highlight in the local jazz offerings this 
month. Quartet consists of Hall, clarinet; Joe 
Battaglia and George Wein alternating at the 
keyboard; John Field, bass; and Joe Corcoran, 
drums. 

The Sunday afternoon sessions continue at 
the Alibi Cocktail Lounge in Lynn and pro- 
vide the only Dixie to be heard locally. 

Other jazz news of interest comes from Dick 
Mascott of the Boston Music Corp. of America 
office. Dick is of the opinion that a good jazz 
band would be suitable to many college social 
functions. Towards this end, he is suggesting 
a jazz band to prospective buyers whenever the 
occasion warrants. The New England college 
support has helped make many name bands in 
the past and could do likewise for jazz. How- 
ever, any readers who are attending school 
hereabouts could lend considerable support by 
sayina a few good words for jazz to their pro- 
gram committees. 



CHICAGO— Walter Wager 

Most important news to jazz fans is word 
that the Paramount reissues are just about 
ready. They will be on the old Paramount 
label and reinstated by means of a 14000 
series in the catalogue. The long delay in 
production was occasioned by the long illness 
of Hugh Davis. We sincerely trust he is feel- 
ing better these days. 

Baby and Miff are at the Beehive and 
Bechet is back at Jazz Ltd. 

NEW YORK 

Bob Maltz's jazz band balls on Friday nights 
have moved from the Stuyvesant Casino to the 
more spacious Central Plaza on Second Avenue 
and Sixth Street. A regular band has been 
signed which will feature Muggsy, Gowans, 
Nicholas, Sullivan, Traeger, and Freddy Moore. 
Featured guests will be Alberta Hunter, Omer 
Simeon, Yank Lawson, and other jazz greats. 

The Commodore Music Shop threw a mon- 
ster jam session at Webster Hall which fea- 
tured some of the best jazz heard in these 
parts in ages with every jazzman able to blow 
being present. Johnny Glasel played great 
lead cornet to Bobby Hackett's second horn 
while Brunis, Parenti, Peewee, Wettling, Sutton, 
Sullivan, Page, Traeger, and dozens of others 
took turns. No two sets featured the same men 
and a good time was had by all. They may 
make these regular sessions. 

Art Hodes is playing a single at the Mark- 
well Bar on 49th Street. Drop in to see him. 
He's better than ever. Fats Wallers sons are 
expected to make their debut hereabouts 
shortly. Maurice plays piano, and Ronald the 
clarinet. Might be interesting. 

Maxie is leading a trio at Ryans and Gowans 
is playing duets with Ralph Sutton at Con- 
don's. He just quit the Jimmy Dorsey crew. 
Cow Cow Davenport has left these parts for 
Cleveland. 

Just heard that Johhny Hodges is leaving 
the Ellington fold to form a small combo. 
Rumors have it that he is taking members of 
the Duke's band with him. Quentin Jackson 
formerly with McKinney's Cotton Pickers has 
joined the Duke and is doing all of tricky Sam's 
old parts. A good man. 




HOLLYWOOD & LOS ANGELES— 
Albert Otto 

From El Serrito we hear the news that Lu 
Watters now holds down the trumpet chores 
alone, since the departure of Bob (Alexander) 
Scobey, who left to form his own combo. Also 
playing in the Bay Area, Scobey is attracting 
a number of the old Watters fans. The band 
is in a solid Dixie groove, with Drummer Bill 
Dart at last beating out the kind, of stuff he 
is capable of. At Watters insistence, it is al- 
leged, Dart gradually pared his traps down to 
a state of almost non-existence. A few more 
nights and nothing would have remained but a 
cardboard box supporting a set of woodblocks, 
say some local observers. 

Kid Ory's Creole Jazz Band, now holding 
forth at San Francisco's Venus Cafe,- is re- 
ported not up to musical par as a result of 
two substitutes in the lineup. Buster Wilson 
and Budd Scott, both out due to illness, are 
sorely missed in the rhythm section. And of 
all things, we understand the new guitarist uses 
an electric box! 

Vivian Boarman, of Oakland's Yerba Buena 
Music Shop, is instructing a class in New 
Orleans Jazz at the University of California at 
Berkeley. 

Ellis Home, whose clarinet is remembered on 
the Lu Watters Jazz Man discs, recently sold 
his entire New Orleans collection to Ray Avery, 
proprietor of the Record. Roundup in Los An- 
geles. According to Ray, this collection is one 
of the best in the country, and will be auc- 
tioned in the Changer soon. 

Another Norman Granz Jazz Concert was 
held in Los Angeles' Shrine Auditorium on 
October 22, following a break-in performance 
in Long Beach two days earlier. Tenormen 
Coleman Hawkins and Flip Phillips were among 
the stars, as well as an abundant representa- 
tion of top-notch soloists on other instruments. 

Dave Ward, coast Ellington fan, now con- 
ducts a Saturday afternoon record show on 
KWIK between 2 and 4. Dave serves up a 
heaping dish of Ellington, including many rare 
items from his private collection. 

At the spots: (Los Angeles) — Hangover, Red 
Nichols; Palladium, Harry James; Aragon, Ted 
Weems; Biltmore, Jan Garber; Ambassador, 
Freddy Martin: Le Papillon, Phil Moore; Eddie's, 
Pete Daily. 

From Seattle comes word of the Rainy City 
Jazz Band, playing the righteous at Club New 
Orleans. The band presently plays on week 
ends only, but has a Friday evening remote on 
KIRO. Localites are pretty excited about the 
music, which can be heard in a new Exner 
album. 




the record 
changer 



January 1949 Volume 8, No. 1 

Editor-Publisher 
BILL GRAt'ER, JR. 

Managing Editor Production 
ORRIN KEEPNEWS JANE GRAUER 

Art Staff West Coast Representatives 

GENE DEITCH— Cover & Cat ALBERT OTTO & JACK LEWERKE 

SIMA RUVIDICH— Design & Typography 11800 Wilshire Blvd., Los Angeles 25, Calif. 



CONTENTS 



Dixieland Jubilee 


Albert S. Otto 


6 


Jazz: A People's Music 


The Editors 


8 


Brass Instrumentation 


Ross Russell 


9 


Arise! 


Bucklin Moon 


1 1 


Books Noted 


Peter Drew 


1 1 


Ory Rhythm 


Orrin Keepnews 


12 


Meet the Collector 


Jack Lewerke 


14 


Good and Rare 


Joe & Cecile Madison 


15 


Equipment 


Gene Deitch 


15 


Records Noted 


George Avakian 
Bucklin Moon 
Paul Bacon 


16 


The Cat 


Gene Deitch 


17 


Aksel Schiotz 


Edward Hill 


18 


Perpetual Portrait 


Edward Hill 


19 


Record Exchange Section: 






Advertisers' Addresses 


23 Collectors' Display 


Ads 


Records for Disposition 


25 Classical Exchange 




Records Wanted 


28 





29 



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your remittance to The Record Changer, 
125 La Salle St., New York City 27, 
New York. 



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submitted on our special ad forms. For 
a supply of these forms address a post 
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Address inquiries to The Record 
Changer, 125 La Salle St., New York 
City 27, N. Y, 



The Record Changer is published monthly by Changer Publications, Inc. 
125 La Salle St., New York City 27, N. Y. 
Copyright 1948 By Changer Publications, Inc. 



lemME 

take this chorus 

All things come to him who waits, or so 
runs a proverb we helieved in our 
younger, pre-jazz days. If we were still 
as full of faith and hope as before hearing 
our first Louis chorus — or even as callow and 
trusting as before becoming enmeshed in the 
deadly business of putting out The Record 
Changer each month — we might really expect 
the following things to come to pass in the 
New Year. But even without taking our- 
selves seriously, we pass these would-be 
resolutions and wishes for 1949 on to you, 
our worthy readers, who really deserve them : 
No "progressive" critic will go on record 
as claiming that be-bop is great simply 
because it is Modern, or that all jazz played 
before 1941 is decadent. 

No decadent critic will go on record as 
claiming that jazz died in 1884, and that the 
only proper jazz instrumentation is African 
tomtom, certified Bawdy-house piano, and 
cornet. 

A motion picture company will release a 
film about jazz that won't have its grand 
finale in Symphony Hall with a grand fusion 
of righteous and classical music into third- 
rate Paul Whiteman, and that will otherwise 
be fit to sit through without agonizing em- 
barrassment. 

No record company will gather together a 
group of studio hacks and produce The Very 
Greatest American Traditional Jazz Album. 

Instead, all companies will pour forth a 
rash of Jelly-Roll, Oliver, and Bessie re- 
issues. 

The activities of the startling young 
French and Australian jazzmen: the Luters, 
Boilings, and Bells, will inspire some of our 
tired local talent to more energetic musical 
production. 

A new uniform of the day will be pro- 
vided for be-boppers : berets and dark glasses 
will be discarded, chins shaved, and (flies 
buttoned.) 

No musical instruments will ever be re- 
ferred to by any of the following terms : 
tubs, doghouse, eighty-eights, licorice sticks, 
and slush pumps. 

Finally, and much more realistically, all 
collectors and jazz-fans will spend a happy 
year getting lots of kicks out of whatever 
kind of music they happen to like best. 




Record collectors are advised that Mr. 
Reuben T. Gee, of Spartanburg, South 
Carolina, has failed to reply to two letters 
of inquiry concerning complaints which have 
been registered against him by collectors 
with Jacob Schneider. 



dl 



ixie an 



d 




The largest aggregation of Dixieland jazz- 
men ever assembled under one roof took 
over Hollywood's Pan-Pacific Auditorium 
for a memorable concert a few weeks back. 
Arranged by local disc jockeys Gene Norman 
and Frank Bull, the program featured most 
of "the" names of Dixieland, many of the 
musicians coming by air from various parts 
of the country. 

Among the unprecedented collection of 
jazz names on hand were to be found such 
all-time greats as Edward "Kid" Ory, Louis 
Armstrong, Zutty Singleton, Jack Teagarden, 
Red Nichols, Jess Stacy ; present-day West 
Coast favorites Pete Daily, Lou McGarity, 
Eddie Miller and Wingy Manone ; and New 



York headliners Wild Bill Davison and 
Eddie Condon. 

Although the duration of the program 
(some four and one-half hours) was entirely 
too long, the production was well-paced and 
varied. Red Nichols and his group got things 
off to a fine start ; they tore into an up-tempo 
rendition of "Battle Hymn of the Republic" 
which came as a terrific surprise to the 
majority of the audience, who have .lately 
come to expect from Nichols the subdued 
swing of a modern small-band dance combo. 
Outstanding were Red himself, blowing great 
horn reminiscent of the early days ; Lou 
McGarity, one of the real stars of the eve- 
ning; Roily Culver, an unpretentious drum- 



by albert s. otto photos by cecil charles 




mer with a solid beat ; and the excellent bass 
sax work of Joe Rushton. 

Next came the local band of Ted Vesely. 
This group typified the main flaw in the 
entire concert : too many musicians are 
unable to distinguish between Dixieland and 
jamming. To play Dixieland requires more 
than assembling a few musicians, however 
accomplished, and stomping off on a standard 
tune. Pianist Lee Countryman, 18-year-old 
protege of Marvin Ash, was a standout not 
only of this band but of the entire show. It 
should be only a matter of time until he 
receives the recognition he deserves. 

Following Vesely came Kid Ory and his 
veteran Creole Jazz Band. The difference 
was immediately apparent. This was the only 
band of the evening to keep the feet of the 
audience continually stomping. Musicians 
watching from backstage, some of whom had 
never heard the band before, were enthu- 
siastic in their praise. There was an equally 
warm response from the crowd, whose 
applause literally stopped the show. 

Ory was followed by an "all-star" group 
led by Jess Stacy. Good as these musicians 
are, a band of individual stars suffer greatly 
in contrast with an integrated, organized 
Dixieland group. The outfit included Nick 
Fatool, Heinie Beau, Nate Kazebier, George 
Van Eps and Artie Shapiro. 

Next came the "darling" of the Hollywood 
"jazz" set, Pete Daily, with his Chicagoans; 
they had a well-planned program, knew what 
they wanted to play and how they wanted to 
play it. (They should have — the scores were 
right in front of them !) 

A book salesman was also on the program. 
He had, at one time, some repute as a 
trumpeter. But he will henceforth be 
remembered as a book salesman. The book is 
his own story, Trumpet on the Wing (re- 



viewed elsewhere in this issue) and he was 
not the least bit hesitant about making sure 
that all present were aware of its existence. 
Wingy Manone apparently believes — mis- 
takenly — that he's a humorist; he jived and 
mugged incessantly, even through all the 
solos of his sidemen. His own playing was 
not up to par, either. 

After Wingy came Impressario Eddie 
Condon — the Stokowski of Dixieland — with 
Wild Bill Davison, McGarity, Matty Mat- 
lock, Stacy, Artie Shapiro and drummer 
Morey Feld. Condon, wonderful showman 
that he is, drew great response from the 
crowd. This is the first time we've ever seen 
a six-piece -band with a conductor! Wild Bill 
of course was great, ranking with Country- 
man and McGarity as the outstanding per- 
formances of the evening. 

Then there were the "Bob Cats," so billed 
because of the presence of ex-Crosbyites 
Nappy Lamare, Doc Rando, Matty Matlock, 
Warren Smith and Eddie Miller. Eddie 
fronted with his tenor, making fully the hit 
that was expected, for opinion is near unani- 
mous in these parts that he is top man on 
Dixie tenor. Surprisingly fine was the trum- 
pet work of studio musician Mannie Klein, 
who is seldom associated with the Dixieland 
style. Smith, regular trombonist with Pete 
Daily, is again playing in the fine tailgate 
style of his Crosby days while Nappy played 
and sang in Tiis usual top-flight manner. 

Louis Armstrong and his highly-touted 
outfit finished off the parade of bands, and 
we do mean finished! When Louis came on, 
virtually all the musicians who had preceded 
him waited in the wings to hear the Great 
One play. Before the end of the first num- 
ber. King Porter Stomp, the off-stage 
audience had thinned to the doorman and a 
few die-hards. For years now we have been 
hearing that Louis' managers have kept him 




trom playing the righteous. If Satch had any 
desire to kick over the traces, here certainly, 
at a Dixieland Jubilee, was his golden oppor- 
tunity to do so. Everyone expected it, hun- 
gered for it. But no; the Armstrong unit 
gave the evening's most incongruous per- 
formance. Theirs was a vaudeville act. 
Porter King would have turned over in his 
grave had he heard the riffs, the screeching 
high notes, the razzle-dazzle technique. Other 
numbers included interminable choruse of 
Body and Soul featuring Barney, and some 
Uncle Tom stuff by Louis and a buxom 
female vocalist named Velma Middleton, 
whose act included doing a split, to the sheer 
delight of those who were eager to be enter- 
tained. Louis should have realized that these 
patrons wanted the McCoy. Instead he gave 
them jam, Sid Catlett drum exhibitions, and 
assorted mugging and convulsions by a "sen- 
sational bass discovery" named Arvell Shaw. 

The night's big surprise was the finale. 
Fifty-four jazz musicians, assembled on 
one stage at one time for the first time in 
musical history, played "Muskrat Ramble" 
and "South Rampart Street Parade," and it 
actually sounded good! A big bouquet goes 
to Matty Matlock for his splendid job of 
arranging. Ten trumpets, 12 clarinets, seven 



drums, 11 trombones, even including come- 
dian Jerry Colonna, who came in for the 
occasion ! There had been no rehearsal. 
Scores were passed out an hour or so in 
advance, and little groups of threes and fours 
formed in various places backstage to quickly 
run over their parts. Most of these sounded 
awful. Many of the musicians were un- 
familiar with the tunes. From where we 
were, it looked like a holocaust. 

Kid Ory and Wild Bill handed their scores 
back to Matlock. Pete Daily said to Davison, 
pointing to the outspread sheet, "You start 
at this end, I'll start over here, and we'll 
meet in the middle ! " It was with great mis- 
givings that we watched the entire company 
stream onto the stage and take up their re- 
spective positions. 

Matty, in front, raised his arms. There 
was a moment of tense silence. Then he gave 
the downbeat. Came the first chord of 
Muskrat, strong and clean. The rhythm 
sections went into a solid, rocking, steady 
pace. We couldn't believe our ears. Here was 
a 54-piece band playing arranged Dixieland 
jazz, and it was thrilling! 

There were few clinkers. Kid Ory prac- 
tically took over the trombone section. Never 
have we seen Ed blow like that. Proud that 
it was his own tune, he gave it everything he 
had, and he has plenty. 

It was a rousing finish to a great, if not 
entirely satisfying evening. The windup came 
when Zutty Singleton, equipped with a bright, 
mile-high drum major's hat and baton, led 
the entire troupe from the stage, down one 
long aisle of the auditorium and back on 
another, to the marching strains of Panama. 

Bull and Norman deserve credit. A 
capacity house of some 8,000 was reportedly 
on hand, with many more turned away and 
the promoters plan to make the program an 
annual event. 



8 




THE EDITORS RECOMMEND AN IMPORTANT NEW BOOK 




A PEOPLE'S MUSIC 



There have heen a great many books 
written about jazz. Very few of them have 
heen worthy of more than passing notice, 
and less than a handful can claim any real 
importance. This is not too surprising; dis- 
cussing one art form by means of another 
is a difficult task, as many a scholar and 
critic has discovered. Although most of the 
attempts to interpret jazz by means of the 
written word have been unimpressive, there 
have been notable exceptions : books which, 
despite their shortcomings, have been of 
great value in the jazz enthusiasts' crusade 
to understand this music as fully as possible, 
and to further its appreciation by as wide a 
public as possible. 

Hughes Pannassie's Le Jazz Hot was one 
such book. A far-f rom-perfect volume whose 
concepts have largely failed to stand the test 
of time, nevertheless it opened up the entire 
field of written jazz criticism. Jazzmen, de- 
spite its limitations and frequent senti- 
mentalizations, pioneered in the important 
work of exploring the historical and sociolog- 
ical background of the music. These have 
been great jazz books, not so much for their 
own merits as for the trails they have blazed. 
It is our firm belief that Sidney Finklestein's 
Jazz: A People's Music is to be added to the 
limited list of important works on jazz. 

The Record Changer editors consider this 
an interesting, highly readable, musically 
sound book. It is free from the most usual 
failings of books on the subject, being 
neither cheap, nor narrowly partisan, nor 
pedantically unreadable. But it is not only 
these virtues which have generated our 
present high enthusiasm for Jazz: A. People's 
Music. It is that we find this book to be the 
first great step towards achieving for jazz 
its rightful recognition as a reputable art- 
form, an equal of any other body of music 
and not a crude, delinquent younger brother. 

Finklestein makes much of the falsity of 
the customary division of music into "clas- 
sical" and "popular," and this is the key to 
his book's importance. He is certainly not the 
first man to say that music can only be 



divided into "good" and "bad," and that 
much of jazz is as good as the best of any- 
thing else. Most jazz-lovers have believed 
this from the start. But he is the first to say 
this in a book that presents its arguments 
clearly, cogently, convincingly. And much of 
this conviction stems from the author's 
unique position among writers on jazz. 
Sidney Finklestein is not particularly a 
"jazz authority," but primarily a teacher and 
writer of note in the entire broad field of 
aesthetics. His earlier book, Art and Society, 
dealt with the whole of art ; his evaluation 
of jazz , takes on added importance because 
it stems from an understanding of all music, 
of all artistic expression. 

In an effort to stress its unusual signifi- 
cance, we employed the rather unusual pro- 
cedure of printing two reviews of this book 
in last month's Record Changer, one by a 
traditional jazz authority and one by a 
modernist. Before that, two half-hour discus- 
sions of Jazz: A People's Music had lent an 
erudite note to disc jockey Fred Robbins' 
WOV (New York) radio show, with George 
Avakian, John Hammond, Sidney Bechet, 
Ross Russell (who wrote one of our re- 
views) and Changer Managing Editor Orrin 
Keepnews participating in round-table agree- 
ment on the importance of the book. 

But the Changer editorial staff feels the 
need for further stressing of the unusual 




nature and great value of Finklestein's effort. 
Here, for probably the first time, is a mature 
evaluation of jazz as a creative art. It is not 
only that this author claims for jazz a 
"legitirhate" position in the musical world. 
He has gone on to analyze the history of 
jazz in terms of this assumption of legiti- 
macy, and thereby 'has written a book which 
proves the validity of his claims. 

He explodes the multiple myths that have 
labelled jazz as African or primitive or sub- 
conscious or wholly improvised music, and 
substitutes for these the proposition that jazz 
developed from the cultural needs of the 
American Negro, and that it has progressed 
from that point to become a constantly chang- 
ing expression of all those — white and 
Negro — who play it, hear it, or need it. On 
the whole point of "what" jazz is, or "where" 
it may be going, it is best to quote Finkle- 
stein : 

"Jazz can be defined, but only in terms of 
a flexible, growing art, which changes as the 
conditions under which it .is performed 
change, and because thinking individuals . . . 
responding to new needs, add something new 
to something old. The "something new" is to 
be judged not by whether it is simply old or 
new, but by whether it is a genuine addition 
to the music. . . . When it is such an addition, 
it is "real jazz," precisely because it is dif- 
ferent, and because experiment and change 
are in the essence of jazz." 

IN a discussion with the Record Changer 
editors, Finklestein pointed out that jazz 
has followed roughly the same pattern as 
"classical" music, in developing from an un- 
written to a more formalized music. This 
does not mean that jazz has consciously aped 
the historical pattern of any other music, and 
that it will inevitably end in some "concert" 
form. (That distorted view has only led to 
attempts at artificial fusions of jazz and 
"symphony," as in the misguided and essen- 
tially barren efforts of the Whiteman-Gersh- 
win-Grofe school.) What it does mean is 
(Continued on Page 22) 




IN BE-BOP 



Howard mcghee 




BY ROSS RUSSELL 



instrumentation 



Last 1 month in an introduction to bebop 
instrumentation the writer pointed out 
that the insurgents making up the pioneer 
bebop group were invariably disillusioned 
large band sidemen whose creative impulses 
led them back to small band jazz. It was also 
emphasized that these revolutionaries gathered 
at Mintons, during the war period infiltrated 
52nd Street and there, during a four year 
musical boom when every style had the 
opportunity to be heard in its pure and un- 
commercial state, emerged as the leaders of a 
new style. 

The general trend of simplification which 
had rigorously reorganized the jazz rhythm 
section meanwhile effected the substitution in 
the front line instruments of the trumpet for 
the brass section and the alto sax for the 
reed section. These two instruments, es- 
pecially as handled by Dizzy Gillespie and 
Charlie Parker, together with the new spare 
three-piece rhythm section, constituted the 
first successful bebop band (1942-44). Heard 
at Mintons, at the Three Deuces on 52nd 
Street, and later on tour, the Parker-Gillespie 
quintet set standards for the new way of en- 
semble playing. 

That the trumpet should assume leadership 
of the new combination was inevitable. From 
the time of New Orleans jazz the trumpet 
(or cornet) had been the lead jazz voice. 
Powerful, forthright and robust, its range 
corresponded most nearly to that of the male 
tenor voice which had supplied the lead in 
pre-instrumental Afro-American music. 

Buddy Bolden, King Oliver, Bunk Johnson, 
Freddie Keppard, Louis Armstrong had_ all 
been aggressive personalities, virile musicians 
who dominated the musical groups with 
which they associated. By the mid-1920's 
Armstrong had become the most imitated 
musician of the day. As a successful young 
big-band leader he abandoned the early 
cornet-ensemble style and, taking up the 
trumpet, soon expanded its range and flexi- 
bility, making it more individual in expres- 
sion. The Armstrong trumpet style is the 
foundation style of every trumpet player who 
has followed him. There are certainly few 
bebop brass men unfamiliar with Louis' 
middle-period style. 




red rodney 



The "link" musician between Armstrong 
and the present is Roy Eldridge, a figure of 
only secondary position in jazz, but one 
whose importance as a stylist is enormous. 
Between 1936 and 1942, roughly that period 
which begins with the eclipse of Louis Arm- 
strong and ends with the ascendancy of 
Dizzy Gillespie, Roy Eldridge was the most 
listened to, admired, and imitated trumpet 
player in jazz. Eldridge's records have only 
occasionally captured the compelling force of 
his playing (Heckler's Hop). Heard in 
person, especially during the 1937-39 period 
when he headed his own six-piece band, Roy 
was the most exciting of musicians. 

In effect, Eldridge took as his point of de- 
parture the fantastic style of the middle 
Armstrong period. Roy's trumpet went 
beyond Louis in range and brilliance. It had 
greater agility. His style was more nervous. 
His drive was perhaps the most intense jazz 
has ever known. After junking the small 
band Eldridge jobbed around as featured 
trumpet with large bands and was the "King" 
until that memorable night in 1941 or 42 
(Kenny Clarke, who tells the story, is not 
sure exactly when) that Dizzy Gillespie 
caught up with him at Mintons. 

"Monday night was always a free for all 
at Mintons," Clarke recalls. "All the young 
musicians in town would be in the place with 
their horns, waiting for a chance to get up 
on the stand and blow. Big name stars used 
to drop in, especially if they were playing 
with the band at the Apollo Theatre a few 
blocks away — Charlie Christian, Lester 
Young and especially Roy Eldridge. Roy 
was the king. 

"Dizzy Gillespie had started out playing 
like Roy, but had- gotten on the new kick, 
working out his ideas with Charlie Parker, 
Thelonious Monk, Nick Fenton and myself. 
We had the regular band at Mintons starting 
in 1941. Dizzy could play, man, and his 
ideas were new, but try as he would Dizzy 
could never cut Roy. Roy was just too much. 
Roy had drive and execution and he could 
keep going chorus after chorus. Every time 
Dizzy tried Roy gave him a lesson, made 
him pack. But Dizzy never quit. 

"Then one night Dizzy came in and 



10 



started blowing. He got it all together that 
night. He cut Roy to everyone's satisfaction 
and that night Roy packed his horn and 
never came back. Dizzy, was the new king 
and the cats were already beginning to call 
it bop." 

Although ten years Roy Eldridge's junior, 
Dizzy Gillespie could hardly be called an 
upstart. As a high-note trumpet player 
in the Eldridge tradition, Gillespie had very 
early earned himself a reputation with band 
leaders as one of the most effective section 
and solo brass men. Happily, the disco- 
graphical evidence on this musician, about 
whom so much of recent history_ has been 
written, is reasonably full. On his earliest 
records (King Porter Stomp, Hard Times) 
it is difficult to say the soloist is not Eldridge 
himself — Eldridge with perhaps a touch of 
the early uncommercial Harry James. Hot 
Mallets with a Hampton pick-up group 
already showcases a talent of high potential. 
The two short solo passages are too fleet 
and graceful for Eldridge. With the pro- 
phetic Pickin' The Cabbage which Gillespie 
composed and arranged, using revolutionary 
rhythmic ideas, and on which he plays a 
long solo utilizing whole tone scales, it is 
plain that a large new talent has arrived. 
Sometime later Dizzy overtook his teacher 
at Mintons. Thereafter he was the idol of 
the younger generation and shortly the 
prophet of the new style. Once established, 
Gillespie's talent increased in breadth and 
depth, and indeed has yet to find its limit, 
for Dizzy has not only played the role of 
high priest of bebop, but displayed unusual 
powers as writer, arranger, band leader, 
entertainer and popularizer of its new idiom. 

Of all -the beboppers, Dizzy is perhaps the 
most solidly entrenched in jazz tTadition. 
Oliver, Armstrong, Eldridge and Gillespie 
are securely in linear contact with one 
another. Gillespie's trumpet remains a lead 
jazz voice, masculine and lusty (Salt 
Peanuts). It is also capable of brilliant solo 
flights (/ Can't Get Started, Confirmation) . 
His range and agility are greater than those 
of the earlier masters. His tone deliberately 
has less vibrato. It is lighter, airier. Its 
virtuosity is often fabulous. It can sing and it 
can punch. 

The technical ability possessed by Gillespie 
has worked a hardship on his imitators, who 
are prone to lose sight of the fact that Dizzy 
was among the two or three ablest trumpet 
players in jazz as early as ten years ago and 
that his later innovations are grounded on a 
thoroughgoing craftsmanship. Gillespie can 
move with facility through most of three 
octaves on his horn and his intonation every- 
where in the register is controlled. It is 
reasonable to predict that at least five years 
must elapse before any considerable body of 
jazz trumpet players acquire facility in the 
new style. 

There are many Gillespie followers, three 
of major importance : Howard McGhee, Fats 
Navarro and Miles Davis. McGhee belongs 
to the Gillespie generation and is in fact a 
musician whose first inspiration was Arm- 
strong, and who turned towards Eldridge 
sometime around 1938. McGhee's early solo 
with the Andy Kirk band (McGhee Special) 
evinces a style influenced by both Louis and 
Roy. A favorite of Coleman Hawkins, 
McGhee began to listen closely to the new 
ideas emerging from the bebop experiments 
and especially to Gillespie. At the beginning 
of the present decade McGhee's style 
changed with the times and on his Asch date 
with Coleman Hawkins we can hear the new 
ideas incorporated into the solos. 

Howard McGhee is a resourceful and dis- 
ciplined musician whose execution is 




Dizzy 
fats navarro 

phenomenal even among the moderns. 
McGhee has a powerful lip, great endurance 
and moves in the upper register with ease; 
he possesses the equipment and intelligence 
to make good use of the new musical 
language. 

McGhee's solos are of solid construction 
and tend to follow mathematical patterns 
based on harmony rather than melody. As an 
instrumentalist McGhee is Gillespie's peer . . . 
witness the utter sureness of his solo on 
Bebop. He seldom has off nights. 

McGhee's tone is clear and compressed, 
less like Dizzy's than Roy's. He plays with 
great drive and with Dizzy's forcing beat. 
But he is neither as original nor as impas- 
sioned a musician as the master. 

Fats Navarro lacks McGhee's brilliance 
and Gillespie's stature. He is a quieter and 
more subtle musician, a very delightful and 
badly under-rated one. His tone is superb . . . 
veiled and haunting, yet light and highly 
personal. Navarro plays with a more relaxed 
beat than Gillespie and McGhee. His phras- 
ing is faultless. Much in the manner of 
Lester Young, Navarro constructs long 
phrases in which staccato multi-note passages 
are balanced against shorter statements where 
the notes are more hoarsely-intoned and dra- 
matically placed. 

Unfortunately Fats Navarro has been 
heard little outside of New York, and his 
recording performances have seldom done 
him justice. A native of Key West, of mixed 
Cuban-Negro-Chinese parentage, Navarro's 
music presents a fascinating blend of flavors, 
predominantly those of the jazz and Afro- 
Cuban tradition.* 

Barely twenty-one Miles Davis may be 
said to belong to the new generation of 
musicians. There is now a mounting body of 
evidence that Davis is leading the way to or 

* As this is written Fats has begun re- 
hearsals for the new big band of Benny Good- 
man who will feature semi-bop arrange- 
ments and girl stars as Wardell Gray and 
Navarro. 



even founding the next school of trumpet 
playing. 

Nothing could be further from the 
Eldridge-Gillespie school than the Miles Davis 
trumpet. Miles plays a "soft" horn. He has 
consistently been overlooked by critics 
because he lacks the virtuosity of his con- 
temporaries. Davis seldom uses the upper 
register, preferring to play almost wholly 
"within the staff." His tone is broad and 
warm. 

Davis' sound, and his sense of chord 
changes and rhythm suspensions are very 
close to the Charlie Parker alto style — he 
has played much with Parker in the past 
three years. As an idea man and influence 
Miles Davis has just come into his full 
powers. If his grasp of the instrument still 
leaves something to be desired, he has shown 
considerable improvement (Barbados, the 
hymn) since his first record (Billie's 
Bounce), and is certainly the trumpet player 
to watch. 

When one leaves the front rank of bebop 
trumpet players it is impossible to find 
musicians who are more than gifted or at 
best promising camp followers. In passing 
one lameits the untimely demise in 1947, at 
the age of twenty-one, of Sonny Berman, 
whom many thought a modern Beigan in the 
making. 

Trumpet players like Charlie Shavers, Al 
Killian, Peanuts Holland, Cat Anderson, 
Snookie Young, King Kolax and Pete Con- 
( Con tinned on Page 21 ) 




11 




members of the "more banjos and tubas 
in jazz bands chowder and marching society" 



f 



arise! 



TRUMPET ON THE WING, by Joe 
"Wingy" Manone and Paul Vandervoort, II; 
Doubleday; 256 pages, plus discography ; 
$2.95. 

The past year has seen a slight boom in the 
exploiting of the odd living habits and 
speech mannerisms of jazz personalities. 
We have been offered the life-stories of such 
natural subjects as Eddie Condon, who has 
managed to make his name a household word, 
and Mezz Mezzrow, who had a sensational 
tale of jazz and vice to tell — and an almost 
undecipherable jargon to tell it. Now Wingy 
Manone, with the collaboration of Paul 
Vandervoort II, continues the trend by tell- 
ing us his "racy, uninhibited story," inevitably 
described by the publisher as "a rich slice of 
Americana." 

In a lot of ways, Wingy's story is a 
"natural," too. Deprived of his right arm by 
a childhood accident, Wingy had a tremen- 
dous handicap to overcome. Born in - New 
Orleans, his travels took him over most of 
the country — and apparently, into every two- 
bit bar with a bandstand from "No People, 
Idaho, to Pismo Beach." He has known just 
about every bigname jazzman you could think 
of. Add to this the appeal of Wingy's rough 
and swinging trumpet style and his mad 
scat-singing, and you're sort of entitled to 
expect Trumpet on the Wing to be a fas- 
cinating hunk of jazz history, maybe even 
"a rich slice of Americana." 

So when the Manone story, like so many 
great expectations in this sad world, doesn't 
turn out quite as well as hoped for, it's at 
least a little disappointing. The trouble may 
well be that we looked for too much of a 
story from Wingy, but all the blame can't 
be ours. Much of it is probably Paul Vander- 
voort's ; he has saturated the text with more 
labored and cute jive-talk than the eye can 
stomach. While there's no point in totalling 
the number of times Wingy is made to 
address the reader as "Man !" it probably 
averages one "man" per page, which is cer- 
tainly several too many. Vandervoort seems 
to have missed the vital point that was so 
well appreciated by Thomas Sugrue (who 
wrote Eddie Condon's saga for him) : 
musicians' talk may sound amusing as hell 
in small oral doses, but in a whole bookful of 
cold print it can make the reader's skin 



crawl. Nobody expects Wingy, or any other 
jazzbo, to write like Proust, but 200-odd 
pages of deliberately and inconsistently dis- 
torlgd grammar and obscure slang is not 
exactly readable. 

Also on the debit side is the vast quantity 
of stale and pointless jokes, unrelated to jazz 
(and likewise unrelated to humor), sprinkled 
all over the place. Furthermore, a dispro- 
portionate amount of space in this rambling 
book is given over to Manone's activities in 
the Bing Crosby smart set, and to such 
things as how Wingy "just rocked the joint, 
that's all" in some obscure B-movie, while 
a good many of the celebrated and un- 
doubtedly interesting musicians he jobbed 
around with are represented by little more 
than listings of their names. 

But this sort of negative criticism can de- 
generate into a pettiness that ignores a book's 
good points, and there are more than a few 
good points to be noted. Despite everything 
said above, there are some highly entertain- 
ing tall tales in Trumpet on the Wing, such 
as the fabulous story of how the one-armed 
Manone prepared a fine Italian dish with his 
feet. Much more importantly, there are — 
sandwiched in between the stories about 
people you never heard of and most probably 
aren't interested in — a goodly amount of 
rollicking anecdotes about Bix, and Louis, 
and Sidney Arodin, and playing Texas tank 
towns with Jack Teagarden. About riding 
freights, playing at Italian weddings and 
with an Indian vaudeville act, and thinking 
up ways of skipping out without paying 
hotel bills. Wingy has obviously had his 
share of kicks, and created his share of good 
music, and I'm willing to admit that anyone 
even slightly more lenient than myself is 
quite likely to forgive much of the corn and 
the bad gags and the pointless little incidents, 
and focus his attention on being knocked out 
by the ups and downs of J. Wingston 
Manone (!), that solid sender who is hip as 
a dip and always has a reet pleat in his 
sharp drapes. 

And if any of my comments have annoyed 
the authors, and they think I'm just a square 
from Delaware, I can only borrow the words 
of one of the book's incidental characters and 
say in conclusion: "If I hurt your beat-out 
feelings I beg your mother-robbin' pardon." 



by bucklin moon 



CD 




It seems that subversive elements are at 
work in the land. It was bad enough to 
have Muggsy make snide remarks a few 
issues back, but I let it go because Muggsy 
once said that Be-bop sounded to him like 
four Chinamen. However, it has been brought 
to my attention that some upstart in some 
one of the "little" magazines devoted to 
popular music (it was Downbeat-ed) has 
made a nasty attack. While it is' true that he 
has objectively applied this only to a Victor 
album called American Banjo Album, which 
on the surface has no relationship to Jazz 
Bands, on closer study the implications are 
very clear. 

For instance he starts out by saying: "the 
trouble with the banjo as an instrument is as 
follows — 1. It's so clumsy to get around on 
that even the experienced banjois.t sounds as 
though he forgot to take his gloves off when 
a fast passage comes up ; 2. You can't sustain 
a note except by a series of continuous 
plunks ; 3. It's a lousy sounding instrument 
anyway. "He ends his review by saying that 
the album "was a nice try but why ruin a 
perfectly good guitar player?" 

Fellow members, this calls for action. I 
could, of course, put this upstart in his place 
by some such killing retort as "this review 
was obviously written with both feet" but 
what bothers me is that the cad had not even 
the courage to sign his right name. He mas- 
querades under the palpably false name of 
"Herrick," when anyone in his right mind 
knows that Herrick was actually a seven- 
teenth century English poet — and in all prob- 
ability a great friend of the banjo and other 
early stringed instruments. One cannot help 
but realize that this is but the beginning of 
a plot to undermine the banjo with the 
American people ! ! ! 

What I suggest is a huge demonstration 
in Madison Square Garden, or possibly 
Soldiers Field in Chicago. For the moment, 
since membership seems strongest east of the 
Rockies, the Coast seems out of the question 
due to its geographic location. However, it 
might be possible for members in that region 
to stage a smaller demonstration, say in the 
back room of one of the larger saloons in 
Los Angeles. Remember, in strength there is 
power ! 

Will all four members of the society get in 
touch with me at once? Today it's the banjo, 
but tomorrow it may be the tuba as well ! ! ! 

Bucklin Moon, President. 




12 

Veteran of 
World War II, Minor Hall 

I dward Ory 
at the Yerba Buena Music Shop 




Ory rhythm 




BY ORRIN KEEPNEWS 



Not so many years ago, Kid Ory was just 
a jazz legend to most people, a New 
Orleans tailgate trombone who'd played 
on the early great Armstrong. records, drifted 
out to the West Coast and retired from music 
to a chicken farm in 1933. Then, eleven years 
later, he was enticed back for appearances on 
an Orson Welles radio broadcast, and formed 
a band from among the New Orleans jazz- 
men who had played with him on the pro- 
gram. The rest is history — the history of 
what is undoubtedly the greatest jazz band 
now functioning, playing in the New Orleans 
tradition as if they had never left the 
Crescent City. 

The Ory outfit plays, of course, in the 
original tradition of unified band jazz, so that 
credit for their musical excellence must be 
pretty evenly distributed. But no small share 
of that credit must go to three men who have 
formed the base of the rhythm section for 
the more than four years of the band's 
existence, weathering, with Ory, personnel 
changes in the other positions. All three are 
New Orleans-born, veteran of other Ory 
bands and of the great Chicago era. But all 
have spent so many years in comparative 
obscurity on the West Coast that their names 
and colorful pasts are likely to be unknown to 
many present-day jazz-lovers, which is a good 
reason for examining the backgrounds of 
Minor "Ram" Hall, drums ; Ed "Montudi" 
Garland, bass ; and guitarist Bud Scott. 

Saying that all three were born in New 
Orleans isn't strictly accurate; Minor Hall 
began life some fifty-one years ago in a small 
settlement 18 miles outside that town. "Ram" 



13 



was a part of the heyday of New Orleans 
jazz ; one of his first jobs, after learning to 
play with a pair of sticks "stolen" from his 
drummer brother, Tubby Hall, was with a 
trio that incuded young Sidney Bechet. Hall's 
first full-band job was with Ory, in a band 
that he recalls as "one of the best," an outfit 
that played for parades, for dances, and 
advertised its dances in the traditional 
manner : "we used to use a wagon, drive 
around with a couple of horses, a couple of 
mules," with Ory sitting in back and playing 
tailgate. 

Minor moved on to Chicago, where he took 
his first drumming lessons, in a recip- 
rocal agreement with Jimmy Bertrand. 
"He said if I'd teach him the rhythm I 
played, he'd teach me how to read, and that 
was how I first learned to read, in Chicago." 
After a spell in the Army towards the close 
of World War I, Hall made his first trip to 
the West Coast. Joe Oliver sent for him in 
1921 to play an engagement at the old 
Pergola ballroom in San Francisco. Ed 
Garland and Lil Hardin Armstrong were in 
this band, but Minor lasted for only two 
months before he had "some sort of fuss" 
with Oliver and returned to Chicago. Baby 
Dodds replaced him with Oliver. 

There he joined a band headed by the late 
Jimmy Noone, playing at a place then called 
The Nest, later and better known as The 
Apex. He played and recorded with this out- 
fit — which included Earl Hines, Joe Poston 
and Johnny St. Cyr — for six months. Then 
Ory, who had been on the Coast (first at an 
Oakland ballroom, later on a barnstorming 
tour) when Minor made his first brief trip, 
sent a call for Ram to rejoin him. This time 
he was out West to stay ; he wasn't with Ory 
for long, but played in and around Los 
Angeles from then on. He played dancehalls 
and night clubs with Papa Mutt Carey, then 
worked in a small band headed by Winslow 
Allen until — to everyone's surprise — the not- 
so-young Mr. Hall was among the first to be 
drafted. He played drums in the Army for 
six months, was let out six months later as 
over-age, and spent the rest of the war with 
Douglas Aircraft, until Kid Ory asked Ram 
to join him at the Jade in San Francisco. 
And this time he has, of course, remained 
with the Creole Band to date. 

Ed Garland, the bass player known to his 
colleagues by the odd nickname of "Montudi," 
is New Orleans born (also at about the turn 
of the century) and bred. His brother taught 
him to play, and Garland claims to have 
started his commercial career at the age of 
11. He was part of a violin-guitar-bass trio 
at a private party, and at about eleven o'clock, 
Ed recalls, he fell asleep on his bass. At a 
slightly more advanced age, he began filling 
in for other bassists around town. This gave 
him the distinction of appearing with most of 
the legendary bands of the era ; the Im- 
perial, Eagle, Superior, Robechaux's band. 
When these outfits played parades, Garland 
played mellophone, and sometimes bass drum. 
Much later, when basses went out of style on 
the West Coast for a while about ten years 
ago, B-flat tuba was added to the playing list 
of the versatile Montudi. 

To clear up this. "Montudi" business before 
going any further : Garland explains it this 
way. "They tell me 'the Montudi' means the 
Duke, the duke of some place, I don't know. 
The way I got that name — we were playing 
in a cafe and there was a fellow came in by 
the name of Montudi, a very nice old man, 
and he used to give us lots of tips and we 
played different requests for him. So we 
began calling each man in the band 'Montudi.' 
Everybody else would laugh it off, but when 
they'd call me Montudi I'd get angry about 



it and want to fight the whole group. So they 
juct continued calling me Montudi, Montudi, 
until I began to answer to it. . . ." 

He left New Orleans in 1914, taking a 
band to Chicago to replace Freddie Keppard's 
outfit on the Orpheum vaudeville circuit, 
playing behind a girl named Mabel Lee Lane 
who, as Ed recalls, had learned something 
known as "the clock dance." Ed stayed in 
Chicago for eight years — and the first new 
addition to his band was a girl piano player, 
whom he heard first as a salesgirl demon- 
strating sheet music in a store at State and 
34th Street. He asked if he could "use her 
for the night," thus giving the classically- 
trained Lil Hardin her first jazz-band job. 

As Garland tells it, he was also responsible 
for Joe Oliver's coming to Chicago, and 
for the start of King Oliver's New 
Orleans Jazz Band. "Yes, I'm the one who 
sent for Oliver to come to Chicago. I sent 
for Joe to organize a band to play at the 
Royal Gardens, when it first opened up. Then 
Honore Dutrey came through Chicago; he 
was in the Navy, but told us his time there 
was going to be short, so we told him to come 
on back to Chicago anytime he got out of the 
Navy. And Johnny Dodds came to Chicago 
with a show and he was playing at the Mono- 
gram, and so we got Johnny Dodds for it, 
too. And finally, when we got all the group 
together, we went on together as King 
Oliver's New Orleans Jazz Band." 

That band played at the Royal Garden, the 
Dreamland, the Pekin, and then came out to 
Frisco, to play at the Pergola in 1920 — the 
engagement for which Ram Hall briefly 
joined them. The band was in San Francisco 
for almost a year; during that time Baby 
Dodds joined them, Lil Hardin left and was 
replaced by Bertha Gonsoulin. Finally they 
came down to Los Angeles to play a short 
engagement with Jelly-Roll Morton. Then 
Oliver decided to go on to New York, but 
Montudi had made up his mind that he 
"wasn't going any further." With the breakup 
of the Oliver band, Garland joined Baby 
Dodds, and some others who wanted more of 
the California climate, in becoming part of 
the Kid Ory band. Garland remained with 
Ory until the Kid retired to his chicken farm 
in 1933. Then he formed his own group, 
playing in the Los Angeles area until he met 
Ory again at the memorable Orson Welles 
broadcast. "Ory was playing again and it 
seemed like it got good to him again, so we 
sat down one day and had a little talk. The 
boy who really wanted to get a band together 
again was Jimmie Noone, and we all figured 
to make Ory manager of the band. But 
Jimmie died, and we had to go on without 
him." 

Third of the New Orleans rhythm men in 
the Ory band is guitarist Bud Scott, whose 
career has certainly ranged farther afield than 
that of most jazzmen. Starting in the tradi- 
tional pattern, he learned guitar at an early 
age, studied singing in school, and first played 
with Joseph Robechaux's band. But when he 
left New Orleans in 1914, and travelled as 
far as New York with a musical comedy out- 
fit, Scott's voice was good enough to gain 
him membership in the "Clef," an organiza- 
tion that included Marian Anderson, Paul 
Robeson, and Roland Hayes, and was the first 
Negro group to make concert appearances at 
Carnegie Hall. 

He moved on to Chicago in 1923, joining 
Joe Oliver, and immediately running to the 
other extreme. Bud was the one who 
shouted : "Oh, play that thing" on Oliver's 
"Dippermouth" — certainly a far cry from the 
Clef. On a short trip to California in 1923 he 
played briefly with the Ory band, then re- 
(Continued on Page 2l) 




One of Ory's 
Oldest Associates, Ed Garland 




14 



YERBA^UENA 

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OAKLAND 9 CALIF. 

WEST COAST JAZZ 

SAN FRANCISCO BAY AREA 

LU WAITERS YERBA BUENA 
JAZZ BAND $1.05 

WeC 118 Weary Blues/Pastime Rag No. 5 
WeC 119 Sunset Cafe Stomp/Ory's Creole Trom- 
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WeC 120 Ain't Gonna Give Nobody None of My 
Jelly Roll/Triangle Jazz Blues 

TURK MURPHY'S BAY CITY 

STOMPERS $1.05 

Turk Murphy, Trombone; Bob Scobey, Trumpet; 
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JM 31 Kansas City Man Blues 

Shake That Thing 
JM 32 Brother Lowdown 

Yellow Dog Blues 

BOB SCOBEY'S ALEXANDER'S 
JAZZ BAND 79c 

Tri 242 Weary Blues/Sister Kate 
Tri 243 Melaneholy/I Ain't Gonna Give Nobody 
None of My Jelly Roll 

PORTLAND. OREGON 

CASTLE JAZZ BAND $1.05 

HF 6/7 Ory's Creole Trombone 
Georgia Camp Meeting 

HOLLYWOOD 

PETE DAILY AND HIS 
CHICASOANS $1.05 

J 12 Livery Stable Blues 

Wolverine Blues 
J 14 Bluin' the Blues 

5:30 A. M. Blues 

JAZZ FROM OTHER AREAS 

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ALBUM C-173 $3.90 

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Sidney Bechet Quartet 
Laura/Just One of Those Things 
Love For Sale/Shake 'Em Up 

Sidney Bechet with Bob Wilber's Wildcats 

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I Had It, But It's All Gone Now/Spreadin' Joy 

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RAMPART ALBUM A-I0I $3.93 

When You Wore a Tulip, Camp Meeting Blues 
Trouble in Mind, Oh Daddy, Frog-i-More Once 
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records. 5c per record freight allowance on orders 
ol $5 or more. Shipments sent Railway Express 
unless otherwise specified. 

We are wholesale distributors of Castle, Circle, 
Exner, Jazz Record, Pacific, Rampart, Reissue 
and Session. Catalog upon request. 



meet the collector: 



dave dexter, jr, 



by jack lewerke 




(The first of a series on well-known record 
collectors) . 

One of the best-known young men in 
Southern California music circles is Dave 
Dexter, Jr. When approached for this 
series, Dave remarked that he wasn't "a real 
collector." Most of his records, he said, were 
"still back east." After seeing his local as- 
sortment of perhaps seven or eight thousand 
records, I asked him what he thought "a real 
collector" was. His answer : "For one thing, 
I never trade records. If I find someone who 
likes a record of mine better than I, he gets 
it as a gift. And I never collect for the label. 
Many of my discs are dubs." 

That Dave means what he says was proven 
to me before I left his home after an evening 
of playing and discussing recorded music. I 
left with an armload of platters which he 
insisted I take along merely because I ex- 
pressed a desire to own them. (Don't worry, 
Dave, I won't tell the vultures where you 
live!) 

Those who are acquainted with Dexter 
through his writings as a former editor of 
"Down Beat," later as publisher of his own 
magazine' "Note," and more recently as 
squire of the "Capitol News," or who have 
listened to his Tuesday night KFWB radio 
show, know him to be partial to Kansas City 
jazz. This of course is natural, since he grew 
up in the environment of Julia Lee, Count 
Basie, Andy Kirk ct al. His liking for Julia 
Lee goes back to the days when she played 
and sang in the old George E. Lee Orchestra, 



which recorded in K.C. for Brunswick. 

Dave hauled out Brunswick 4761— Won't 
You Come Over to My House/He's Tall, 
Dark and Handsome. Several years ago 
when Dexter was supervising the Capitol 
"History of Jazz" series, he asked Julia to 
cut House, which she did. The side was not 
a hit, but more recently when Dave was re- 
sponsible for the Nellie Lutcher version, 
altered slightly to read, Hurry on Down to 
My House, it was a sensation, as is well 
known. 

Dexter's "collection," even though he in- 
sists it is not one, includes all the Capitols 
which he was instrumental in having re- 
corded. In addition to the Lutchers and Lees, 
there a>re the St. Paul's Baptist Church 
Choir, Joe Alexander, Jesse Price and others. 

Dave also has a fancy for the dance bands 
of the thirties : Noble, Arnheim, Kemp, etc. 
In other styles, he is fond of Billie Holiday 
and Pete Daily. Small group jazz is well 
represented in a complete assortment of ten- 
and twelve-inch Keynote discs. He believes 
this to be one of the best all-round jazz 
labels. 

His rarest items, however, are to be 
found on transcriptions. He is one of those 
fortunate owners of a number of 16-inch 
Ellingtons, as well as the Kenton transcrip- 
tions which were cut during what he con- 
siders to be Stan's "sane" period (circa 
1942). This was the exciting new band that 
first attracted attention at the Rendezvous 
Ballroom in Balboa. 

Any article on collectors should include a 
word about filing systems. Dexter's might be 
called the "Good God! It was here a minute 
ago" system. He claims to know where every 
record is located, but always seems to have 
difficulty finding it too quickly. Oh well, we 
must remember he isn't a "real" collector. . . . 

Dexter is a rarity in critics. He doesn't 
knock other critics nor musicians. He believes 
music to be a matter of opinion; if the in- 
dividual enjoys what he listens to, that's the 
important thing. 

A year or so ago Dave's book, "Jazz 
Cavalcade," was published. If you want to 
learn more about the taste and opinions of 
Dave Dexter, Jr., we suggest you read it. 
Whether or not you agree with all the ideas 
expressed, you'll find it well worth your time. 



15 



good and rare 



w 



ith the cessation of hostilities, Germany 
is slowly returning to such pre-war 
pleasures as wiener schnitzels and beer 
gardens, dancing and Music. And as the 
Sauerkraut Serehaders warm up with their 
version of / Wish I Could Eat Sausage Like 
My Sister Skates, backed by It's A Treat To 
Beat Your Feet On The Blue Danube Mud, 
jazz once more comes into its own. 

From 1939 to 1945 jazz issues were pro- 
hibited in this country and so we must reach 
well into the past to find material of interest 
to collectors. Jazz records were issued mainly 
by two firms, The German Brunswick 
G. »i. b. H., which was connected with the 
Gramophon G. m. b. H. (known by the 
English label His Master's Voice) ; and the 
El-ectrola B. m. b. H. The first label issued 
jazz in droves, items by such outfits as Chic 
W ebb, Louis Armstrong, Count Basie, Bob 
Crosby, Hot Club Quintet, Benny Carter, and 
other small combinations. At the same time 
they pressed popular commercial records by 
Jimmy Dorsey, Andrews Sisters, Mills 
Brothers, etc. 

The Electrola label was more frugal and 
issued only some single items by Duke 
Ellington, Tommy Dorsey, Benny Goodman 
and Artie Shaw. 



Currently Amiga and Imperial labels of 
Germany are active in jazz recording. 

The only information we can obtain con- 
cerning Russian recordings comes from a 
German correspondent who writes : "I doubt 
very much if you'll really find one human 
being in Russia engaged in the field of jazz 
music." According to this correspondent, "If 
there were interested parties they would not 
be able to appear in public as any activity 
aiming at a popularization of jazz music has 
been prohibited by the Soviet." 

Dutch Decca, under pressure from collec- 
tors, is once again coming to life by issuing 
some local Holland jazz. Newest combo, 
features clary, trumpet, trombone, drums, 
piano and bass and has just made Apex 
Blues/Strange Peach for early release to 
Netherlands collectors. 

In Switzerland, an outstanding amateur 
unit, the New Orleans Stompers, will shortly 
record on Swiss label. This outfit has won 
awards at various international competitions 
with their Dixieland efforts. 

Although there are such Danish labels as 
Tono, Odeon, HMV, Parlofon, Brunswick 
(Siemens) , the discouraging word is that no 
jazz is being recorded in Denmark. However, 
Scandinavian collectors want the U. S. to 



from here 
and there 

by cecile and joe madison 



take note that when Sven Asmussen joins the 
Goodman Sextet this fall, added to Ake 
(Stan) Hasselgard already in, you can 
expect some real Szvedish Pastry. 

On their label, AFCDJ, The Association 
of French Jazz Collectors has just reissued 
some very choice sides, available by sub- 
scription only : 

No. 1. Ellington Lil Farina/ Animal 
Crackers. 

No. 2. Ma Rainey Counting the Blues/ 

Jelly Bean Blues. 
No. 3. King Oliver Chimes Blues/Snake 

Rag. 

No. 4. Lovie Austin Peepin' Blues/In 
The Alley Blues. 

In Australia two new labels are scheduled 
to make their appearance, Elmar and Zenith. 
These will feature Australian jazz by Sidney 
musicians. 

Memphis No. 4 has now been released, 
with the Southern Jazz Group at their best 
doing Dr. J azz/When The Saints Go March- 
ing In. Another new issue is Frank Johnson's 
Dixielanders, Bienville Blues/Leonard's 
Shuffle on Ampersand 16. 

We have urgent need for contacts in India, 
and Mexico. If anyone knows a collector in 
any of these countries we would appreciate 
the address. 



equipment 




Old School 




Modest 



Home Craft 





Custom Built 
Hi-Fidelity 



next month: "TECHNICAL EXPERTS" 



16 




GEORGE A YAK! AN 
BUCKLIN MOON 
PAUL BACON 



records 
noted 



The All Star Stompers 

Shim-me-she-wabble 
Swinging Down the Lane 

Avalon 

St. Louis Blues 

I Never Knew I Could Love Anybody 
Can't We Be Friends 

For this third album from the This Is Jazz 
show Rudi Blesh has chosen to give us six 
more sides by the All Star Stompers, which 
is all right by me for I still have a certain 
nostalgia for those Saturday afternoons at 
two thirty. In fact Bob Aurthur's program 
notes recalled it so vividly that after I read 
them and stacked the records on the old 
Magna vox I could almost see (and hear) 
Colonel Blesh's shirt of many colors, which 
was often seven degrees hotter than the 
music, and his chin whiskers quivering in 
time to Baby Dodds' wood blocks. Actually, 
with no disrespect to these records, I think 
that M. Aurthur's prose is the better per- 
formance. 

By this time all of the pundits have argued 
out the last nuances of the band that, save 
for small changes in personnel, was on the 
show from the opening to the closing session. 
With much of what has been said I agree. 
No, the band did not play traditional New 
Orleans style, but to those who said that it 
played Dixieland I can only add, thankfully, 
that this was even further off the mark. 
There were others who claimed that with 
Wild Bill in the band it sounded pure 
Chicago, yet even on it's one or two off days 
it never could be mistaken for the barefoot 
boy' in the French, Shriner & Urner shoes, 
in whose saloon Mr. Davison holds forth 
nightly. Let's leave it at that — this was a 
band neither for the traditionalists nor the 
extremists. 

Yet I don't think that calling it a hybrid is 
the answer either, or at least the whole 
answer. I think the band was striving 
towards something, namely an attempt to 
bring jazz up to the present without getting 
off onto any of the tangents so many other 
groups have taken. It held to the past but 
never so rigidly as to be tagged as sounding 
almost like so-and-so did in 1922 and though 
it did some things which made a few of us, 
myself included, chew our fingernails, it was 
an attempt to assimilate them into a bigger 
wholeness. I'm not at all sure they were 
wholly successful always, or even half of 
the time for that matter, but when it hap- 
pened something pretty damned good was 
usually the result. 

In this album there seems to me less of this 
than there was in the first one, though all of 



the records are good. However, the surprise 
to me in the whole batch was Can't We Be 
Friends, which I put on the turntable ex- 
pecting pretty much a Wild Bill "showcase" 
treatment. Instead what came out was the 
kind of thing that seems to me the proof of 
the pudding, a wonderfully satisfying record 
and one that shows clearly what can be done 
with even the most banal pop tune every now 
and then. 

As I have said all the numbers in this 
album are uniformly good. Some of the other 
pop tunes here don't get into me the way that 
the one I just mentioned did, and there are 
really only three jazz standby's and one of 
these, Avalon, less so than the others. I have 
heard numbers on the broadcasts that I 
thought were better than some of these but 
the selection here is certainly catholic. And 
although not inspired, these records won't 
just sit around on your shelves. I think you'll 
play the hell out them. 

I said in introducing the first album that 
I doubted that these records would ever be 
thought of in the same terms of greatness as 
the early Jelly's, the best of the Louis Hot 
Fives, The Dodds' or the Oliver's. Having a 
little time behind me and a lot more playings 
I'm even more sure of that than ever. Yet 
it seems to me that the chances are that they 
may be pioneering in somewhat the same 
manner ; for to me they point the only pos- 
sible way out of our present dilemma. 
Whether or not we make it, your guess is 
as good as mine. (Circle S-15, $3.93) (B. M.) 



Turk Murphy's Bay City Stompers 

Kansas City Man Blues 
Shake That Thing 

Brother Lowdown 
Yellow Dog Blues 

This" gang draws largely from the Lu 
Watters band, with Burton Bales on piano, 
Mordecai on banjo, and Scobey, Murphy, and 
Helm on the front line. Their quality is — 
not too surprisingly — pretty much that of the 
Watters band, without as much brassiness 
and volume. Sounds pretty good, too. 

The standout side of the lot is Murphy's 
original, Brother Lowdown. The Watters 
gang has always shown a striking ability to 
come through with fine originals in the 
traditional vein — something no other jazz 
band of the last twenty-five years has done 
nearly so well. Right there is one of the 
secrets of the Watters band for my dough ; 
the boys have been criticized for playing too 
loud, too straight, and God knows what-all, 
but they played stuff that nobody else had 
the musicianship and guts to tackle, including 



original material. Yes, I've heard it said 
many times that Bunk Johnson would com- 
plain bitterly that he had to play the same 
old numbers over and over again because the 
guys in his band couldn't learn new ones, but 
I strongly doubt if any band in the jazz 
field ever could have produced as many con- 
sistently excellent originals as the Watters 
crew has done. 




turk murphy 



Turk Murphy, beyond doubt, is the most 
important sideman Lou has had, not only for 
his fine writing but also for his gutty trom- 
bone playing, which set the tone of the band 
more surely than anyone else's individual 
sound. On his own here, Turk has produced 
a record date that stands up well alongside 
all his previous work, and gives his fans a 
fine chance to hear him with a smaller group 
than has heretofore been possible. 

The only distressing note is Harry 
Mordecai's banjo alongside Burt Bales on 
Shake That Thing and especially Brother 
Lowdown, in which I must say he's either 
out of tune, playing wrong chords, or plunk- 
ing some "gone" inversions. Can someone 
set me straight? — I just don't get it. But 
everything else is in the proper groove. Bob 
Helm's clarinet was never better, and Burt 
Bales sounds better than ever. I think these 
are Burt's first commercial records, although 
he's been heard a good deal around town and 
on air-shot discs of the wartime Watters 
band and Bunk Johnson's San Francisco 
band. I seem to remember him playing a lot 
like Fats Waller in his living room, but 
here he's got more of Buster Wilson's 
equally two-fisted style. 

Hearing these records makes me realize 
that Bob Scobey's horn has been playing lead 
on more Watters record than I realized. He's 
even better here than on his trilon sides. As 



17 



for Turk, he has anear-perfect style for this 
kind of music, and a tone that can't be beat. 
He trots out the five-gallon can, too, for 
some Ike Rodgers stuff. Get with this set. 
(Jazz Man 31, 32). 

Mutt Carey's New Yorkers 

Indiana 
Ostrich Walk 

The first group of Careys that came out 
on Century consisted of three highly em- 
bdrrassed rags and a happy standard that 
everybody knew. The impression that the 
Carey band would do much better on more 
of the latter is borne out here. Mutt's unex- 
pected passing is especially unfortunate in 
that he finally produced records under his 
own name at the age of 56 — and they are to 
be his last. And they are certainly fine ex- 
amples of his playing, particularly Indiana. 

This is an extraordinarily fine side ; I'd 
say the best yet on the Century label. Carey 
picks up the first chorus in driving fashion, 
sounding very much like Wild Bill Davison, 
but with greater force, if you can imagine 
that. It would be no exaggeration to say that 
this is the best horn imaginable for the New 
York style that has grown up in Manhattan 
during the last decade. It is perfect, that's 
all. 

Mutt adds a solo with mute later on, and 
in the last chorus socks out the lead again, 
oi>en. In between, Ed Hall is fine, Danny 
Barker lays down some grade-A rhythm 
along with Baby Dodds, and the whole spirit 
of the performance is downright ideal. 



Ostrich Walk is a weak sister by compari- 
son ; nothing happens that isn'i done better 
on Indiana. At that, it's still a pretty fair 
performance. (Century 4013). 

Punch Miller 

Down by the Riverside 
Panama 

Back when I used to listen to the radio 
every time the Casa Loma orchestra was on 
the air, I used to get a great kick out of the 
confusion of the engineers during things like 
clarinet solos and Kenny Sargent vocals. 
Main's the time the solo mike would be 
closed and you'd hear Sargent singing way 
off somewhere and the background of the 
band booming up through your speaker. 
That's the way it is for quite a while in 
Down By the Riverside, and you know what? 
I like it. 

Punch, holding back too much, lets Ed 
Hall and Ralph Sutton have the spotlight in 
the first chorus of this slow version of Bunk 
Johnson's theme, and the result is very nice 
indeed. One of the best things about this 
date, incidentally, is that there are only two 
other men on it — Jimmy Crawford on drums 
and Ernest Hill on bass. The studio Century 
recorded Punch in seems to have been much 
too small for a larger group ; the first Punch 
Miller releases sound much poorer tech- 
nically than this one. Sutton, cutting through 
all the way (I would say that two mikes 
have been used, one for Sutton and Hill, 
another for the horns, and let Crawford fall 
where he may), gives the record a distinctive 



flavor and helps make_it rhythmically inter- 
esting with such pleasant moments as the 
transition into the last sixteen bars. 

Panama is faster, more hectic, and some- 
what less distinguished. As with the Mutt 
Carey release, one side says all there is to be 
said on the record, and thus Panama is just 
another side. (Century 4014). 

Dick Wellstood 

Raggedy Anne 

George Zack 

Oh Baby, Look Out! 

This is the first solo record of Wellstood'S' 
piano work. While not typical, it shows off 
his fast, clean adaptations of the Harlem 
piano school. There's a lot of Johnson and 
Waller in this record, and a snatch of Maple 
Leaf Rag, but also a lot of Wellstood. He 
has the attack and technique to stand up to 
a man of the stature of Jimmy Johnson ; 
maybe there isn't as much Origirfality as 
you'd like, but it would be unfair to say that 
this is just a copy. Chalk up* 'an excellent 
performance for Wellstood, and it's good to 
know that the promise of this year-and-a- 
half old recording has been fulfilled. Wells- 
tood has absorbed the Harlem school well, 
and this record alone is sufficient proof. 

Another derivative pianist, but of an older 
period, is George Zack, whose Oh Baby, 
Look Out is one of his best efforts on wax. 
Once again, there's not much that's original 
here, but it's nicely put together. Zack's 
tasteful first chorus is followed by a good 
blues vocal and then out with a little of Tin 
Roof Blues and a couple of familiar turns 
of the blues. The heavy rolling followed by 
the sharply percussive flights of the right 
hand are all here, and sound as good as 
George ever played them. There are only 
four choruses in all on this side, but they're 
all you need. (Century 4002). 

Lord Nelson and His Boppers 

Stardust 

Ratio and Proportion 

Sonny Stitt's penetrating tone is the first 
thing that hits you on this record, which 
sounds as if it were made in a marble hall, 
and Milt Jackson's vibes are the second. 
Stitt gets an uncanny sound out of an alto, 
tremendously sharp and metallic, and he has 
good ideas to express with it. I can think of 
easier jobs than rendering Stardust, accom- 
panied by vibes, drums, piano, and a silent 
trumpet, but Sonny acquits himself with 
sparkle and grace. 

Milt Jackson supplies the audible part of 
the backing, occasional shimmering chords 
being all that was necessary. 

The reverse brings to light a trumpeter, a 
pianist and a drummer, Willy Wells, Will 
Davis, and Dave Heard respectively ; none of 
the three is familiar to me, except that Heard 
is the celebrated J. C.'s brother. Wells plays 
an odd solo, beginning with part of Million 
Dollar Baby, for no very valid reason, and 
Da vis sounds like a pretty capable piano man. 
Stitt has an invigorating 24 bars, in that 
ringing, confident style of his, sounding as if 
he could cut through the Goldman band, and 
Jackson taps around with intelligent neatness; 
Heard doesn't play loudly, he's more in the 
tradition of his brother, bouncy and slick. 

The bass is by Jimmy Glover, but he is not 
well recorded. I forgot to mention that the 
tune itself (at bottom a 12 bar blues) is 
annoying, to me anyway, but there is enough 
of interest to nullify that. (King 4235) 
( p - B -) (Continued on Page 22) 




18 



concert notes: 



by ednard hill 




Only by extension of the mirror function 
which is criticism's first fundament may 
one take into account such circumstances 
outside of a given actual performance in 
preparing a report of the event and its 
results. The reviewer may be considered 
entirely true to his trust who confines him- 
self to an account of what took place just as 
it happened. Having done so, he is entitled 
to .call it a day. Strings may depart from 
their proper tension in vile weather; sound- 
ing boards will perchance warp or hammer 
felts be affected under extremes in tempera- 
ture — or pranksters drop niblets of glue 
between the pages of a score. Consternation 
follows any such untoward circumstances or 
misdemeanors and it is beyond the critic's 
field of concern. But there comes a time 
when the rules safely, honestly and for 
simple hospitality's sake may be thrown over- 
board. The critic, a man among men, can 
manage to take advantage of his opportuni- 
ties to behave in a gentlemanly manner. 
(These opportunities present themselves in 
almost every one of his working days.) 

Certainly he must be a carping wretch who 
would fail to take into consideration the 
heart-moving situation which caused a 
shadow to be thrown upon the career of 
Askel Schiotz. New York's Town Hall was 
occupied to its full legal capacity on the 
evening of October 20th to herald the 
Danish tenor's initial American appearance 
and the artist was cordially received through- 
out the execution of a program as taxing as 
that likely to be undertaken by any singer at 
the top of his form. Mr. Schiotz's reputation 
had preceded him by several seasons via a 
number of splendid recordings, by compari- 
son with which his recital must be reckoned 
a harrowing disappointment. 

But wait ! Since the best of those records 
were made the singer had undergone the 
ordeal of brain surgery to assuage injuries 
incurred as a soldier of his King. While his 
memory is quite unimpaired, he has been 
afflicted with a marked diminution of tech- 
nical prowess. The voice, as presently pro- 
duced, is but a pallid echo of its former self; 
the co-ordination is there but the sense of 
climax, although it may be called, will not 
answer. There is little inkling of the true 
range in size and texture, almost no definite 
revelation of coloristic varieties. The organ 
is, forsooth, etherized. Yet, this gallant 
gentleman seems determined to carry on with 
his career and his wish to do so will ever 
find a companion heart in this reviewer's 
prayers for his eventual full recovery. 

Oratorio arias by Handel and Haydn 
comprised the opening recital group and were 



followed by a complete edition of Schumann's 
great "Dichterliebe" cycle, to which was 
added that composer's "Die Lotusblume." 
Four Brahms songs and a group by Danish 
composers brought the program to a close. 
Among the three encores, Mr. Schiotz gave 
a particularly winsome rendition of a dear 
old friend, "My Lovely Celia." 

Make no mistake, the intelligence and re- 
finement of an artist of the first rank were 
in fulsome evidence at all times. It is the 
full flower of the emission that needs to be 
recaptured. Askel Schiotz appears to be about 
forty years of age. Granted that his mis- 
fortune can be entirely repaired, he should be 
able to grace the platform with his winning 
presence for a' goodly number of seasons to 
come. 




all you 



CATS 



in the 
los angelea 
area. . . . 
you 're 
invited to 



marie & gene deitch's 
regular friday night 
record sessions: cr 1-8240 



CMS 621 

Muggsy Spanier and His Ragtimers 

DARKTOWN STRUTTERS BALL SOBBIN' BLUES 

Muggsy Spanier, Trumpet; Pee Wee Russell, Clarinet; Lou 
McGarity, Trombone; Gene Schroeder, Piano; Eddie Condon, 
Guitar; Bob Haggart, Bass; Joe Grauso, Drums. 

CMS 622 

Bobby Hackett & His Orchestra 

NEW ORLEANS SKELETON JANGLE 

Bobby Hackett, Trumpet; Pee Wee Russell, Clarinet; Ernie 
Caceres, Baritone Sax; Lou McGarity, Trombone; Eddie 
Condon, Guitar; Jess Stacy, Piano; Bob Casey, Bass; George 
Wettling, Drums. 

CMS 623 

Wild Bill Davison and His Commodores 

JAZZ ME BLUES SQUEEZE ME 

Wild Bill Davison, Trumpet; Pee Wee Russell, Clarinet; Lou 
McGarity, Trombone; Dick Carey, Piano; Eddie Condon, 
Guitar; Bob Casey, Bass; Danny Alvin, Drums. 



List Price $1.00 Pius Tax 

COMMODORE MUSIC SHOP 

134 EAST 42nd STREET NEW YORK CITY 



19 




I 

There are comparatively few men and 
women who still live to tell of their 
ecstasies of aesthetic sensation in the 
presence of Jean l)e Reszke, and their recol- 
lections are dulled by the passing of almost 
five decades. Idolatry alone remains untar- 
nished. They will tell you (or you may read) 
of De Reszke's superb character delineation, 
of the ineffably lovely chiaroscuro of tone 
wrought in his throat and of the sublime 
dignity of the artist whose perfection in 
every last aural and visual facet of executive 
technique was of a grace supernal. The narra- 
tive, with its key dates, the listing of his 
roles, and a few far-removed glimpses into 
his personal nature is all that remains, and 
the chronicle is as dry as his bones. 

The career of Jean De Reszke is finished ; 
there is no living testimony to perpetuate his 
creative contribution to a world that was, for 
a time, blest with his presence. There is no 
encomium to do him justice. He was truly 
great and he is truly dead, for this Master- 
singer chose to suppress publication of the 
two examples of his work which he recorded 
and which might have immortalized him long 
after he had ceased to be a memory and 
had become only a name. Of the waxes 
engraved without his knowledge during 
actual performances at the Metropolitan in 
1901 (his last season in America), the less 
said, the less curiosity aroused — and un- 
fulfilled, for these are blurred, primitive frag- 
ments which tantalize but do not reveal to 
any appreciable degree. 

IT 

Enrico Caruso was born in Naples in 1873 
and died there in 1921, and although a gen- 
eration has come to maturity since his pass- 
ing, his voice and more than a little of his 
personality are as alive today as when be 
was at the height of his phenomenal renown 
as First Tenor of the World. 

Of all the millions of words written and 
published upon the subject of Caruso during 
and after his lifetime, not more than a 
thimbleful are to be relied upon, and the 
acres of type set by his publicists, effer- 
vescent idolators — and slanderers— make a 
sorry collection of source material for the 
much-needed definite biography. His own 
delightfully adept caricatures of himself and 
of his contemporaries, published in La Follia, 
tell more of the man's lovable nature than 
all of the anecdotes. To listen to one properly 
chosen record of his voice is to learn more 
about his artistic being than can be gained 
through reading all of the critics' reviews in 
the musty files. Distortion is rife in the 
prints but the recordings, although made 
iong before the phonograph had emerged 



by rdnard hill 



perpetual portrait 



from its infancy, tell the story with a fidelity 
which holds for today and tomorrow all that 
cannot be conveyed to any but the aural 
sensibilities. 

Those who wish to know which thirty-six 
operatic roles Caruso emplo3ed during his 
tenure at the Metropolitan will have no 
tribulation in the quest and the dates of his 
performances are likewise readily accessible. 
For so-called "human-interest" stories there 
are the blurb-sheets put out by the old Victor 
Talking Machine C Oinpany to herald its 
latest record releases, with their plenitude of 
spot-news photos ; — Caruso entering the opera 
house, Caruso on shipboard bound for La 
Scala, Caruso playing tennis, Caruso clean- 
shaven, Caruso with his newest mustaches, 
three-quarter profile, full-length and 
(actually!) Caruso with his back to the 
camera . . . and . . . ad nauseam. 

But the reverence with which Caruso's 
name still is spoken owes itself not to 
the lists nor to the pictures nor to the 
nonsensical tales nor to any of the thousand 
material swatches surviving. His corporeal 
investment skillfully preserved and until 
recent years on public view attracted only 
those morbid swine to whom that for which 
he lived is a blank. 

It is the voice of a Mastersinger which 
endures in perpetuity to recreate for us, at 
our will, some of the fruits of his task upon 
the earth. 

Caruso and the science of sound perpetua- 
tion emerged from prepubescence at almost 
the same time, with results which scarcely 
could have been happier had the artist and 
the inventor been brothers of approximately 
the same ideals and sympathies. It was in 
1897 that Caruso's star cleared the horizon. 
Shortly afterward one of the "mushroom" 
companies of the recording industry's begin- 
ning years engaged him to make a few 
cylinders. These, the earliest surviving ex- 
amples of Caruso's singing, reveal an open 
and quite naturally Italianate method, a 
lyric texture not boyish nor to any degree 
uncertain — yet lacking in those qualities of 
darkling splendor characteristic of his zenith 
years. They conclusively give the lie to the 
persistently reprinted misinformation that 
Caruso, like his predecessor, De Reszke, had 
begun his career as a baritone. 

Within the next few seasons other com- 
panies made other records and these, played 
in chronological order with the earlier and 
later recreations, enable us to trace the vocal 
developments as well as the always increas- 
ing authority and stylistic impact. However, 
none of the pre-American cylinders or discs 
are of much value to the student of bel canto 
for re-recording apparatus is incapable of 
contending with their vagaries of pitch, 



volume and clarity. The faults are, of course, 
the faults of the original, crude recording 
machines and should in no wise be construed 
as being attributable to artistic shortcomings. 

Our fully rewarded interest in Caruso's 
recordings begins with the series done at 
Milan in 1002-3 when the tenor's endeavors 
first bloomed to full advantage and brought 
understanding recognition by himself and by 
the impresarii of his true rtotential worth to 
the world of music. Some of these matrices 
were brought to the United States for 
release as part of the now scarce "5000 
Series" — the first (after the short-lived 2000 
series) red-seal records issued by Victor. 
They preceded the tenor to America by 
several months, his debut here taking place 
in late November, 1903. Indeed, it was a 
/ 'esti la giubba of the 1902 group which 
brought about Caruso's first Metropolitan 
contract. The late Montrose J. Moses relates 
that this disc was played to Heinrich Conried, 
the Metropolitan's then manager, and that 
Conried forthwith opened cable negotiations 
with the tenor's agents. The ultimate results 
of those enquiries admit of no extended com- 
ment here and now. Nor need we dwell at 
any length upon the peregrinations and 
vicissitudes attendant upon the pattern of 
existence which thenceforth was to be Enrico 
Caruso's life on and off the lyric stage. Let 
us concern ourselves more properly with the 
Caruso who lives forever, enshrined within 
the record grooves. 

IV 

In February, 1904, about ten weeks after 
his New York debut, Caruso was taken to 
Room 826 in Carnegie Hall t^ere to 
transcribe the first ten in a soon-to-be lengthy 
catalog of songs and arias. He was paid off 
in cash, there being no contract in existence. 
Rut the advisability of having Caruso's 
signature on a recording contract very soon 
became apparent and the formality was duly 
realized. That contract was in force until 
1913 when it was renewed (with revisions) 
for an additional twenty-five years' duration, 
thus outliving the tenor by seventeen years 
and under the terms of which royalties to his 
estate continued to be forthcoming. (Whether 
or not Mrs. Caruso continues to receive 
royalty payments, I have not inquired.) 

Not all nor nearly all of Caruso's singing 
on records which remains accessible is repre- 
sentative of his best work nor of music's best 
estate, and some of the recordings of which 
copies are readily procurable were better 
placed aside to make way for loftier flights 
of song which repose within the vaults at 
Camden. Examples of Caruso's singing at all 
phases of his career reveal stirring things as 
well as things less than deservant of un- 
(Continned on Page 20) 



20 

perpetual portrait 

(Continued from Page 19) 

stinted praise. It is for the critically quali- 
fied to listen and adjudge the inescapable 
qualities and inequalities abundantly available 
in imperishable presence. No excessive 
laying-on of portamento in the later years 
eludes recognition; — no carrying through of 
limpid cantilena in the lyric decade is lost. 
Those who have had word of his supreme 
conception of the romanza, "Cielo e mar" 
will do well to seek the 1905 version, with 
piano, rather than the one made after the 
brio had been supplanted by the spreading 
of the focus resultant from too -many ad- 
ventures with Rhadames and Canio and 
Samson and Jean de Leyden. There is an 
Una furtiva lagrima available today which 
is in no wise comparable to the two-part 
version done in 1904 and withdrawn from 
circulation a generation ago, the hearing of 
which invites destruction of the later matrix. 

To be sure, certain of the items made 
during the latter half of Caruso's career 
merit the highest praise. Crucifixus from 
Rossini's Stabat Mater (his very last address 
to the recording horn) is a lesson in classical 
singing. So with Lully's Bois Epais sung at 
the same session. And there are others. 

V 

It is to his records that Caruso owed not 
only a substantial portion of his income but 
also a fame which, until the advent of radio, 
was known by actual living example to more 
people than that enjoyed by any other in- 
dividual since the world's first musical tone 
was uttered. 

It is to Caruso, through these records, that 
we owe much of our understanding and 
appreciation of the heights to which vocal 
art can rise and, God willing, will rise again. 
He has bequeathed to a fortunate posterity 
his Testament of Beauty and it will continue 
to recreate itself for the benefit of human- 
kind so long as there are those who will 
listen and receive its message. 



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A decent respect for the great man's 
memory requires that his future auditors be 
exposed only to that work of his which is a 
just representation of the best he had to 
give. It therefore behooves a seasoned com- 
plement of judges to act, by painstaking 
process of elimination, for the permanent 
removal of such items as might be entered 
as damning evidence against his reputation, 
and to ensure the preservation and the propa- 
gation of some of his glorious moments in 
our midst. 




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21 



VOL. No. 3 

and 
VOL. No. 4 

of 

INDEX 
to JAZZ 

/4%e StiM rfwZifaUe 

No other publication shows 
data on more Afro-American 
jazz and blues recording 
groups. 

INDEX TO JAZZ gives you the 
dope on jazz records where you 
can find it. No messing around 
with secret codes, etc. You turn 
the page and you see the words. 
The four volumes of the INDEX 
contain data on more than 20,000 
records. 

The price of Vol. No. 3 and 
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439 Baronne St. 
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(Volumes No. I and No. 2 are now out 
of print. Third editions of these volumes 
are being planned.) 



ory rhythm 

(Continued from Page 13) 

turned East. "Then Ory came to Chicago, 
too. I played with him in Oliver's band." When 
Oliver went on to New York in 1926, Bud 
joined the Noone band at The Apex for a 
while, and then went out to California to 
stay. Out there he did movie work for a 
number of years, doing "a little bit of every- 
thing — talking parts, singing parts, vocals, 
playing the guitar or banjo or violin" (He 
had studied violin during his New York and 
Chicago days and "played symphony for quite 
a while"). 

Then, of course, came that 1944 Orson 
W elles-broadcasts reunion with Ory and the 
others, and ever since then, the huge Scott 
has stood alongside the comparatively tiny 
Ed Garland in the Ory rhythm section. 

The background material and quoted state- 
ments in this article are taken from a radio 
broadcast intervieiu betiveen Ory band mem- 
bers and Vivian Boarman of the Yerba 
Ruena Music Shop, of Oakland, California. 
Thanks are also due to her for providing the 
pictures used on this page. 




brass instrumentation 

(Continued from Page 10 ) 

doli are often lumped with (he bebop brass 
men but usually by reason of their high-note 
work or pyrotechnical delivery, which per se 
has nothing to do with the new idiom. These 
musicians do not phrase in the contemporary 
style. They are essentially swing musicians. 

The trumpet players of the Stan Kenton 
orchestra are capable and brilliant but 
seldom play in a personal style. There is 
greater freedom in the present Wood}' 
Herman band, where Al Markowitz and 
Shorty Rogers contribute excellent solos and 
Ernie Royal's effortless high-note work is 
stimulating. It is impossible to overlook Gail 
Brockman of Chicago; Benny Harris, one of 
the pioneers of the bebop movement ; Kenny 
Durham, whose tone is unequalled ; Tommy 
Allison, formerly with Boyd Raeburn and 
now with Buddy Rich ; Ray Linn, ex-Rae- 
burn first trumpet who now plays studio jobs 
in Hollywood and is a musician of real 
quality ; Benny Bailey, formerly with Tav 
McShann, Neil Hefti, Shorts McConiieli, 
Doug Metone and Tony Fuselli. But to date 
none of these men have shown more than 
interesting potentialities. 

Bebop brass men constitute a school as 
well established as the new form itself. They 
have further extended the range of the in- 
strument. They have added to its virtuosity, 
speed of execution and brilliance. They have 
produced a trumpet tone which is lighter, 
rounder and more transparent. In the next 
issue the writer will consider bebop REED 
instrumentation and style. 



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22 

jazz 



(Continued from Page 8 ) 

that jazz, in common with all forms of 
creative art, has travelled a natural path 
from folk-art simplicity towards urban 
sophistication. Thus jazz now possesses the 
body of New Orleans music, both the style 
and the repertoire of beautiful tunes. This 
remains as a source of continuing listening 
pleasure, and also as a living, integral part 
of all of the jazz music that has developed 
out of the New Orleans foundation and is 
constantly changing as its environmental con- 
ditions change. 

It is, incidentally, this theory of the altera- 
tion of all art from early folk forms into 
complex later expressions, which forms the 
basis of Sidney Finklestein's more general 
work, Art and Society. But he first developed 
the idea from his study of jazz — a rather 
striking example of the uses of an approach 
that regards all forms of artistic expression 
as potentially equal. 

But in emphasizing that Jazz: A People's 
Music is significant because it insists that 
jazz is "equal" to any other musical form, it 
is important to avoid the impression that 
Finklestein is saying anything to the effect 
that "jazz is just like long-hair, only it 
sounds different." Jazz evolved in its own 
individual way, under specific conditions 
peculiar 'only to jazz. Finklestein's term is 
that it is a music of "protest," a word open 
to some misinterpretation. At least one re- 
viewer (Bucklin Moon, in the December 
("hanger) lias complained of the over-ap- 
plication of this thesis, and it is true that the 
word carries implication of sullen, angry 
revolt and smashing of chains — which is 
hardly what most of jazz sounds like. The 
word may be unfortunate, but the author's 
two uses of "protest" are actually quite 
sound. Jazz is a music created primarily by 
Negroes, who lived — and still live — under 
conditions that deny them most other oppor- 
tunities for expression. Certainly even happy 
music can be considered as a protest against 
a world whose regulations are designed to 
keep a Negro from being happy. And Jazz, 
says Finklestein, is also a musicians' protest 
against the stagnating standardization of 
techniques of playing and composing in con- 



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cert music. 

Used in this sense, emphasis on the 
"protest" in jazz is simply a logical exten- 
sion of the thesis, universally accepted since 
the time of Jazzmen, that the music is greatly 
influenced by the specific conditions under 
which jazz musicians live. 

This article has not been meant as another 
review of Jazz: A People's Music, although 
it seems, at least in part, to have turned into 
a book review. It is intended as an expression 
of the editors' great delight on the publica- 
tion of a new and different jazz book, an 
important work which we earnestly recom- 
mend to the attention of all lovers of music. 



arnold b. stilwell's 



RECORD DATING CHART 

covering the period through 1930. 

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an example of how the chart works 

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on the Gennett Label. Record Number 3149, Master Number 9725, 
playing "Stomp Off Let's Go." Knowing little about the record 
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books you can go to your record dating chart and at-a-glance tell 
that the record was made about June 1925 and released August 
1925. 

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Qrs, Sunshine, Polk, Winner. Triangle, plus all of the common 
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(Continued from Page n) 
Johnny Dodds 

South Bound Rag 

Young's Creole Jazz Band 

Tin Roof Blues 

Johnny Dodds' clarinet noodles throughout 
the first side of this unusual pairing, sup- 
ported by Blind Blake on guitar and Jimmy 
Bertrand on xylophone. There isn't much else 
you can say about it, since it's far from being 
one of Dodds' more important records, but it 
does have a curious quality that I have never 
heard before, thanks to Bertrand's xylophone 
playing. He is gloriously ordinary on the 
instrument, but it produces a different sound 
that makes for a change of pace if nothing 
else. 

The Young's Creole Band side is patterned 
after the New Orleans Rhythm Kings record. 
(Even the label credit is N. O. R. K., and 
that doesn't mean the Columbia backfield of 
Nork, Olson, Rossides and Kusserow.) 
Preston Jackson and Bernie Young are heard 
in trombone and trumpet solos, while Happy 
Caldwell confines his clarinet playing to the 
ensembles. Young, whom I've never heard 
except on these sides with Jackson, has a 
pretty solid style and Cassino Simpson sup- 
ports him nicely at the piano during this 
chorus. (Century 3027). 

Dobby Bragg 

3, 6 and 9 

We Can Smell That Thing 

This should settle for all time that the 
name is really Dobby, not Bobby. The guy 
plays a fair honk piano, but rushes like hell 
and never does explain the significance of the 
title 3, 6, and 9. The talking resembles Pine 
Top Smith more than somewhat: too bad the 
piano doesn't. Bragg does better on the 
reverse, although his lack of technique is 
practically staggering. W*e Can Smell That 
Thing is a rather distasteful side on all 
counts, and you'd be much better off with 
something like Jimmie Noone's record of It's 
Tight Like That, which is much better music 
on the same theme. (Century 3028). 

Jimmy Blythe's Ragamuffins 

Adam's Apple 
Messin' Around 

There are all too few records of Freddie 
Keppard's hard cornet playing. This is one 
of the better ones, although listening to 
Keppard's horn on any record at all is rather 
hard work, thanks to the extraordinarily 
poor studios he was used in. Another thing : 
stories are one thing and records are another. 
Keppard may or may not have been a great 
cornet player, but you can't prove it with his 
records. He gets lost, fluffs, plays way out of 
tune on Adam's Apple. (I have often won- 
dered if it's really Keppard on this side.) 
He's much better on Messin' Around, which 
is a superior side in all respects except that 
Trixie Smith intrudes with a typical Para- 
mount vocal. Just stick to this side, and dig 
Dodds and Keppart, and you'll be getting a 
pretty fair earful. There's no question that 
Dodds was a far greater musician, and as 
I've implied before, I think Keppard may be 
over-rated, but this side has some of his best 
moments on wax, not barring the Jazz 
Cardinals sides. (Century 3029). 



HOW THE RECORD CHANGER WORKS: 



23 



Abbreviations used in the Classified 
"Wanted" and "For Disposition" 
Sections are as follows: 

Col. I, Record Label: 



Ac Aeolian 

Aj Ajax 

AM .... American Music 

Ap Apex 

Ar Artiphon 

At Asch 

All Autograph 

At .... Aeolian Vocalion 

Ba Banner 

BB Blue Bird 

Be . . . Beacon 

Bl Berliner 

BN Blue Note 

BP ... Brunswick Polydor 

Br Brunswick 

Bt Beltona 

BS Black Swan 

Bu Buddy 

Bwy Broadway 

Ci Cameo 

Ch Champion 

CI Collectors Item 

CI Clarion 

Clg Clangor 

Cn Chantal 

Co Columbia 

Com Commodore 

Cp Capitol 

Cq Conqueror 

Cr Crown 

CRS Collectors Rec. Shop 

Cs Crescent 

Cx Claxtonola 

De Decca 

OF Discophiles Francoises 

Di Di«a 

Dl Dolmetsch 

Do Domino 

DP Decca Polydor 

Os Disc 

Dx Deluxe 

Ed Edison 

EB Edison-Bell 

El Electrola 

Em Emerson 

Ex Excelsior 

Fo Fonotipia 

FO Fonotipia-Odeon 

FRM Friends of 

Recorded Music 

Ge Gennetl 

GG ...... Grey Gull 

Gl General 

Gr Gramophone 

Gt Gamut 

Ha Harmony 

He Homochord 

Hg Harmograph 

When it is necessary to indicate nationality of 
the record, the following letters appear after 
the record label abbreviation: 

A Argentinan G •. . . . German 

Au Australian I Italian 

B Brazilian J Japanese 

C Canadian M Mexican 

E English S Swiss 

f French Sd Swedish 

In the "For Disposition" section the condition 
of the record is indicated by these abbrevia- 
tion!: 

N (New): Surface noise equal to an unplayed 
record: no visible or audible wear percep- 
tible: original finish intact. 

E (Excellent): Surface noise low. smooth, uni- 
form. Not irregular or crackling. Easily dis- 
regarded in listening. No perceptible distor- 
tion. 

V (Very Good): Surface noise somewhat 
more prominent: light foreign noises, but 
slight distortion, if any; noises not seriously 
distracting. 

G (Good): A moderate amount of surface 
noise: background may be somewhat irregu- 
lar and crackling: some foreign noises, and 
a little distortion; on the whole, reasonably 
satisfactory listening without undue distrac- 
tion of attention. Foreign noises definitely 
less prominent than the music. 
F (Fair): Foreign noises, taken together, are 
about as prominent as the music, and there 
is considerable distraction of attention, and 
listening requires some effort and concentra- 
tion; nevertheless, under these copditions. 
listening should be fairly satisfactory. 
P (Poor): Foreign noises, collectively, are 
louder than the recorded music: continuous 
concentration is required, and there is little 
satisfaction in listening. 



Hgl Hargail 

HMV. His Master's Voice 

HoW Hit of the Week 

HRS Hot Record Society 

Id Ideal 

Je Jewell 

Jl .... Jazz Information 

JM Jazz Man 

Kn Keynote 

Li Lincoln 

Lu Lumen 

Me Melotone 

Ml Melba 

Mo Monarch 

Mp Masterpiece 

Ms Master 

MV , Musique au Vatican 
MW . Montgomery Ward 
NMQ New Music Quarterly 

Ns Nordskog 

Od Odeon 

OL Oiseau Lyre 

Op Olympia 

Or Oriole 

.Pa Parlophone 

Pat Pathe 

Pd Polydor 

Pe Perfect 

Pm Paramount 

Pr Pro Musica 

Pu Puritan 

Ra Radiodisque 

Re Regal 

Ro Romeo 

Ry Royale 

RZ Regal-Zonophone 

SA Solo Art 

Sal Salabert 

Sbl Sonabel 

Sg Signature 

SI Silvertone 

St Sterno 

Su Sunshine 

Sw Swing 

Sy Syrena 

Te Technichord 

Tfk Telefunken 

TM Treasury of Music 

Tr Triangle 

UH United Hot Clubs 

II . ... Ultraphone 

Ve Velvetone 

Vi Victor 

ViE Export Victor 

Vo Vocalion 

Vr Variety 

Vs Varsity 

Vy Victory 



Column 4 of the "For Disposition" section shows 
the method by which each record is to be dis- 
posed. 

"SAL 1 ': The record is for sale at the price 
indicated. 

"AUC": The record is at auction. The highest 
bid takes the record. Bid only what the 
record is worth to you. 



"TRA": The record is for trade only. If you 
are not familiar with the wants of the ad- 
vertiser send for his want list. If you have 
certain records in which he may be in- 
terested, mention these in your letter. 

The extreme right column in both the "Wanted" 
and "For Disposition" sections shows the first 
four letters of the advertiser's name. His ad- 
dress is shown below. 



ADVERTISERS WHOSE ADDRESSES ARE NOT SHOWN ELSEWHERE 



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JACO: NAT JACOBS |55-0| 90TH 

AVE. APT 4S., JAMAICA 2, NY 
JAME: FRED JAMES ROUTE 6 

BOX 236 MILWAUKEE, WISCONSIN 

BIDS UNDER $2 ADD 250 POSTAGE. 
KAKE: STAN KAKEZ |3|7 CENTER AVE., 

SHEBOY GEN , W|SC. 
KEND : BYRON KENDIS 4927 BOUDINOT 

ST., PHILADELPHIA 20, PA. 
KRYS: WANDA KRYSIAK 672 HUMBOLDT 

ST., BROOKLYN 22, NY 
LEVI: FLOYD Levin 405 N. NORTON 

AVE,, LOS ANGELES 4, CALIF. 
MAD I: JOSEPH MADISON 2825 34th 

AVE., SAN FRANC ? SCO |6, CALIF. 

MARC: cy marcus 25|5 clarendon rd. 

BROOKLYN, NY 
MCKU: JAMES MC KUNE I 79 MARCY 

AVE. , BROOKLYN II, NY 
MILL: HAROLD MILLER 26 W. 47 ST., 

NYC 23, NY 

MOR I : 

EDWARD MORINGER lOlO INTERVALE 

AVE., 9X 59, NY 
MOUL: WILLIAM MOULTON 22 1 GERRY RD 

CHESTNUT HILL 67, MASS, 
NEVA: DONALD A. NEVARD , THORR I NGTON 

NR COLCHESTER ESSEX, ENGLAND 
ORLA: JAMES ORLANDO, D I CKERSON RUN 

PA. 

ORR: JAMES M. ORR, 600 LAFAYETTE 

AVE,,@UFALO 9, NY 
PANG: PEGGY ANN PANGBORN, PANG- 
BORN RD. DECATUR, 3A. 
PARR: SID PARRY 574 w. 1 76 ST., 

NYC 33, NY 
PARK: S.R. PARKER, SOX 727 

AMHERST, MASS, 
PIKE: G.L. PIKE 10 W I NNEMERE ST., 

MALDEN, MASS. 
PIPE: JOHN M . PIPES BOX 1 2 1 5 

Blfi SPRINGS TEXAS 
PENM: ARTHUR PENN 5925 MICHIGAN 

AVE. , CHICAGO 35, ILL. 
PERR: ANTHONY PERRY 4252 W. VAN 

BUREN ST., CHICAGO 24, ILL. 



24 



POUL: ROBERT POULSON 8| 0 S. 
8TH , LINCOLN 8, NEBRASKA 

QUIN: WILLIAM W. QUINN 4406 
BROADWAY, GALVESTON, TEXAS 

RATK: JOSEPH RATKOWSKI 1 05 ENGERT 
AVE. BROOKLYN 22, NY 

ROSE: BORIS ROSE 2| | E. |5 ST. NYC 

SMIT: n. smithson 15327 san juan 

DRIVE, DETROIT 2|, MICH 
SlMYD 5 NOLAN SNYDER 1194 DELTA RD. 

SPRINGFIELD |, OHIO 
TASC: ROBERT TASCH 4300 MARTHA AVE . 

BRONX, NYC 
VJR: VINYLITE JA7Z REISSUES 2|| E. 

15 ST., NYC 
WATE: H.J. WATERS || BELMONT CT., 

SILVER SPRING, MARYLAND 
WEND:"ROY WENDELL, ENGINE 4, MFD 

RIVERSIDE AVE., MEDFORD 55, MASS. 
WHIT: LEON WHITLEY 48|5 COLES 

MANOR, DALLAS 4, TEXAS 
WIND: R.GUY WINDSOR 85 NEWARK ST 

NEWARK, NJ 
WORL: CPL. HORACE A. WORLEY AF|423 
92||, HQ, SQ,PAC. APO 953 #PM 
SAN FRANCISCO, CALIF. 
ZAWA: STEVE ZAWACKI 13400 FENELON 
AVE., DETROIT |2, MICH. 25^ PKG 
CHG ORDERS UNDER $ 2.00. 
ZEIG: LESLIE ZEIGER 1 056 SHERMAN 
AVE., NYC 56, NY 
COPIES OF YOUR TREASURED RE- 
CORDS DUPLICATED ON UNBREAK- 
ABLE METAL DISCS. ONDY Si .50 
(POSTAGE INCLUDED)., SEND YOUR 
DESIRED RECORD OR RECORDS TO 
RUBIN SPRING 580 BRISTOL ST., 
BROOKLYN, NYC. 



PRICED SALES LIST 
SEND FOR FREE COPY OF LIST CON- 
TAINING OVER | 000 OUT-OF-PRINT 
RECORDS. RED HOT DANCE TUNES, 
VOCAL BLUES, OLD TIME TUNES, 
REL I G I OUS AND NOVELT IES 

******************* 

OLIVER W. JOHNSON 
MM VERON ICA AVE. 
ST LOUIS 15, MO. 



THE WALNUT MUSIC SHOP 
"PHILADELPHIA'S ONLY JAZZ STORE 
EXTENDS TO ALL IT'S 
LOYAL FRIENDS AMD 
SUPPORTERS A 
VERY MERRY C HR I ST MAS 

AND A 
HAPPY NEW YEAR 



NOTE 



All persons using the medium of the Record 
Changer in the buying, selling or trading of phono- 
graph records, do so subject to these Rules and 
Regulations : 

i. A collecior or person who solicits and receives 
advance remittance for a record must send the rec- 
ord within a period of four weelcs. 

3. A collector or person who orders and receives 
a record prepaid must pay for it within a period of 
four weeks. 

j. A collector or person who obtains a record in 
trade must fulfill his end of the trade within a 
period of four weeks. 

4. A collector or person who requests that a 
record be shipped CO D. must accept the shipment 
unless the shipment is damaged in transit. (A bid 



on an auction or an order from a sale which states 
that records will be shipped CO D. unless otherwise 
instructed, is considered a request for C.O.D. ship- 
ment. ) 

The name of the person or collector who violates 
the abov- rules will be printed in the Record 
Changer upon the first violation, and the violation 
will be described. (Exception: where breakage or 
over-grading is concerned, the record is to be re- 
turned promptly to the shipper. If the parties in- 
volved do not arrive at a settlement, the matter is 
to be referred to the American Record Collectors 
Board.) 

* * * 

When infractions of these rules (Jccur contact 
Jacob S. Schneider, Legal Dept., The' Record 
Changer, 128 West 66th St., New York N Y 



CLOSING DATE FOR BIDS 
On all Records advertised 
for auction in this issue will 

be JANUARY 20, 1949 

UNLESS OTHERWISE STATED 



WANTED 

PICTURES OF JOE SMITH 
AND WARD PINCKARD. 

THE RECORD CHANGER 



WANTED 
MINT COND IT ION ONLY 

NORDSKOG 3007, 3008, AND 3009 
REISSUES ON SUNSHINE ACCEPTED 

L.L.BOYER 

SEVERN, MARYLAND 



tfcut Convenience 

The Record Changer 

125 La Salle Street, New York City 27, N. Y. 
Please enter my subscription to your magazine for 

□ I year; □ 2 years; □ 3 years, 
my remittance is enclosed 

United States I year. $3.00; 2 years. . . $5.50; 3 years $7.50 

Canada I year. . . $3.25; 2 years. . . $6.00; 3 years. . . $8.25 

Foreign I year. . . $3.50; 2 years. . . $6.50; 3 years. . . $9.00 

Name _ 

Address 



FOR DISPOSITION' 



25 



T FOUR LETTER 

address. SEE 



PRICE IF 

trace; mi 



- - - - 



METHOD OF disposition: "sal". 

FOR SALE AT PRICE INDICATED.; 
TRA " , FOR TRADE; "AUC", AT 
UCT I ON.CLCS INC DATE -FOR 6IDS. 

SEE PACE 6. ' T -A " TOR TRADE 
iR AUCTION; "T-S" FOR TRADE 

OR- SALE: "STA" FOR SALE.TRAOE 

OH AUCTION. 



condition of record: n-ne 
E-cxcellent; v-very good: 
—COOP ; F— fa i r ; P-POOR. 



ILABEL of record. 




ALL STAR TRIO 
•HY DONT U/SIREN SOUTHERN SEA VI 35707 E SAL 



all by self/keep that for 
swanee/venetian uoon 

AMBROSE OUCH 
*0NT u/songs 

cotton pickers congregation 

ALBERT AMMOt.S 
nagasaxe/boog «00G ST 

ANDREWS SISTERS 



VI 13766 E SAL 
VI 1 9651 E SAL 



B8 6837 E AUC 
DEE 6453 E AUC 



.50 BARR 
.30 3ARR 
.30 BARR 



749 N SAL I .40 ZEIG 



PRINCE FELL0*/l0VE IS WHEERE DE 2|60 E AUC MARC 

VICTOR AROEN, PHIL OHWAN 

MAPLE LEAF RAfi/CANADIAN CaPERSVI 22608 N AUC ARG 

LOU IS ARMSTRONG 

: • . ~ . »- ■ - BB 10225 N AUC MARC 

OING DONG DAODY/BYE BYE Bl( TEUM )paE796 N SAL 1.00 OUNC 

DALLAS BL/PUT TAKE(VENUTl) PAE 973 N SAL 1.25 OUNC 

GOT NO BL/SUGAR FT STRUT PAE 2449N SAL 1.25 OUNC 

KNEE OROPS/SKIP GUTTER PAE 2438 N SAL 1.00 DUNC 

KIIG ZULUS 'LONESOME BL BRS I N SAL 1.25 GLOB 

GEORGIA GDI NO /COME BACK SWEET BRS 3 N SAL 1.05 GLOB 

BUTTER EGG MAN/SUNSET CAFE HC |6 N SAL 1.05 GLOB 

KOKOMO ARNOLD 



GOING DOWN GALILEE/SOMTHIHG 

GEORGE AULD 
ILL NEVER/CO PILOT 

GENE AUST IN 



ST LOUIS 3L/ST JAMES INF 

BAILEYS LUCKY SEVE N 
HULA LOu/LOVEY COME BACK 

-- .: 

homeysuckle rose/willow tree 

OIWNHEARTEO BL/bEYOND BL HORIZ 
CHARLIE BARNET 



DE 7485 N T-A JACO 

GU 1 28 E SAL 1.55 MOUL 
BB 6S63 N T-A I .25 SNYD 



GE 5363 V AUC 



PAE 2201 N SAL 
524 V AUC 



JAM E 



.00 OUNC 
RATK 



1 W Ml ZZ/NI GHT SONG 


SB 


I0l9l 


E 


AUC 


KEND 


NO NAME JIVE 1-2 


BB 


10737 


E 


AUC 


KEND 


FAMOUS OOOR/TIN ROOF BL 


BB 


I0l3l 


N 


SAL 


.69 PARK 


JUMP SESSION/SWING ST STRUT 


BB 


10172 


N 


SAL 


.69 PARK 


BL IN NIGHT/lSLE PINES 


BB 


1 1327 


N 


SAL 


.69 PARK 


OONT BE AFRA 0 TELL 


RZ 


1642 


'. 


AUC 


PARK 


FARE THEE WELL ANNABELLE 


RZ 


1762 


N 


AUC 


PARK 



CCUNT BASIE 



SWINGIN THE 9L/SENT FOR U 


DE 


1880 


N 


AUC 


MARC 


GOOO MORN IN Bl/0UR LOVE WAS 


OE 


1446 


V 


AUC 


MARC 


MOONLIGHT SERENADE/) CANT BELIEDE 


5036 


V 


AUC 


MARC 


RIFF INTERLUDE/LEFT MY BABY 


CO 


35321 


N 


AUC 


CRAW 


ALL OR NOTH ING/fcoON FELL RIVEROK 


5884 


N 


AUC 


CRAW 


5 ocl whistle/wandering MAN 


OK 


5922 


N 


AUC 


CRAW 


STAMPEDE G MINOR/wHO AM I 


OK 


5987 


e 


dUC 


CRAW 


TUES AT TEN/UNDECIDED BL 


OK 


607l 


N 


AUC 


CRAW 


BEAU BRUMMEL/lLL FORGET 


OK 


6122 


N 


AUG 


CRAW 


BETCHA MY LIFE/DOWN DOWN DOWN 


OK 


6221 


N 


AUC 


CRAW 


FANCY MEETING u/l 23 OLEASY 


OK 


0319 


N 


AUC 


CRAW 


MY OLD FLAME/TOM THOMB 


OK 


6427 


N 


AUC 


CRAW 


GEORGI ANA/SLUES 


DE 


|682e/vauC 


GERO 


KING JOE ( ROBESON ) 1-2 


0) 


6475 


E 


SAL 


1 . 15 ZEIB 



:■: ■:■ ■" 

NEW ORLEANS FEETWARMERS SET OF |5 HMV OISCS 
PLUS SIXTEENTH BECGET ON GRF FREE GIFT N SAL t 
rip up joint/laughin VI 27663 N SAL I. 

BIX BE IDERBECKE 

GOOSE P IMPLES/TRUM60L0Gy(tRAM)pAZ 2465 N SAL I. 

THOU SWELL 1-2 PAE 2355 N SAL I. 

GRAEME BELL 

ALL THE GREAT FRENCH PACIFICS BRAND NEW SAL — 

■ • :- :r. 

RUSSIAN LULLABYE/(lOMBAROO) VI 26001 N SAL I. 
BEN BERN I E 

6385 E SUC — 
4e08 - AUC — 



LETS PUT OUT LIGHTS/yOUR TEL 
IM YOURS/ONE SONG 
CHU BERRY 

too marvelous/now your talkin vr 532 V 

D BESTOR/E.J.MC ENELLEY ORCHS. 
SAY MR. /MOONLIGHT MANDALAY 



25 COHE 
ID ZEIG 



25 OUNC 
25 OUNC 



COHE 

40 ZEIG 



MARC 
MILL 



AUC 



19988 E SAL .20 BARR 



BOOLA BO/HAREM LIFE 

BOONES JUMPING JACKS 
IM FOR IT/TAKE IT BACK 

IRENE BORDONI 
SO THIS IS LOVE/( 1923) 

CONNIE BOSgELL BOBCATS 
maltha/home on range 

BROADWAY 8AN0ITS (B.G.) 
YOURE T0p/( UN I S SUED IN USA ) 

BOBBY BREEN 
MUSIC IN HRT/AIAKE WISH 
HAPPY AS LARK/SUNNY SIDE 
AVE MARIE/LARGO OMBRA MAI FU 



VI 18654 E SAL 



DE 8590 N AUC 



VI I 9 I 99 - AUC 



.25 BARR 

ARG 

MILL 



DE 1600 E AUC — — J A ME 
'RZ 1733 N T-A 2.00 LEVI 



BB 7I58E/VAUC 
OE I 950 N AUC 
DE 2496 E+AUC 



AL BRUNIES HALrWAY HOUSE ORCH 
NEW ORLEANS SHUFFLE/SQUEE ZE MECO 54| V AUC 

HENRY BURR/AM QUARTE T 
U REMIND ME MOTHER/nELLY KELLYV I 18957 E SAL 

CAB "ALLOWAY 
jiveformation/i AINT GETTIN N0WHV05I95 E AUC 
CHATANOOGA caoo choo/a TRA in OK 6305 E AUC 
JUMP JIVE/TRILON SWING VO 5005 E AUC 

LETS GO J E /SMOOTHE ONE OK 6720 N AUC 

TWEE TWEE TWEET/FOR LAST TIME VO 5| 26 V AUC 

UNA MAE CARLISLE 
LOVE WALKED IN 

BENNY CARTER 



wr.ND 
Wl ND 
W I ND 



MARC 
■ MARC 
MARC 
MARC 
MARC 



SHOOT THE WORKS/DREAM 
BEALE ST/jOE TURNER BL 
MELANCHOLY LULL/PLYMOUTH 
SAVOY STAMPEDE/SCANDAL A FLAT -OK 5||2e/nAUC 
CASA LOMA 



VOL- 


162 


G 


AUC 


VO 


2898 


V 


AUC 


OK 


6001 


N 


SAL 


OK 


4984 


N 


AUC 



RAYAL GARDEN Bl/sAN CO 28S4e/vAUC 

NEW ORLEANs/LADY ST PAUL BR 6486 E AUC 

CARMEN CAVALARO 

A DREAM/lLL SEE U IN OREAMS DE 4055 N AUC 

DAY DREAMING/l DREAM TOO MUCH DE 4057 N AUC 

MAURICE CHEVALIER 

VI 2|9|8 - AUC 



GERO 

I . 40 ZE I G 

MOUL 

MOUL 

GERO 

3.50 PARR 



MARC 
MARC 



LOU I SE 

CHICAGO BLUES DANCE ORCH 
BL GRASS 8L/H0USE DAVID 

CH ICAGO F00T1ARMERS 
BLLIN THE JACk/gRANDMA BALL 
LADY LOVE/BROWN BOTTOM BESS 

CLASSICS OF JAZZ 



3923 E AUC 

8533v/GAUC 
1 2 N SAL 



K END 

2.00 ARG 



COMPLETE NEW BRE SET |4 RECOROS 
PLUS 1 5TH OLIVER GRF FREE GIFT — 

ROO CLESS QUARTET 
I KNOW U KNOw/PALETTE BW 

LARRY CLINTON 
BECAUSE OF u/SAHARA (GOLD) 

CLICQUOT CLUB ESKIMOS 



N SAL $ 22 COHE 



ARG 



AT CU'.C j*'i/lU'.: £ - j I c L 

KING COLE TR I ( 
THAT A I NT RIGHT/hIT THAT 

COLONIAL CLUB ORCH 
H I TT I N THE BOTTLE/CLEAR BL 

TTON P ICKERS 
SISTER KATE/GOTTA COOL DOGS 
WALK JENNY WALk/mAMA GOES 

FRANC IS CRA IG 
RED ROSE/COTTON TAIL 
DEEP RIVER/ALL OAY LONG 

WALTER CROWLEY 
SHES GOT WHAT I NEED 
NOTH I N BUT NICE/LETS 



BB 11094 E AUC MARC 

CO 92 1 V AUC WNED 

DECI04II N SAL 1.50 ZAWA 

BR 4858 E+SAL I. 1 5 ZEIG 



BR 2338 E SAL 
BR 2490 V+SAL 

CO 1544 E+AUC 
CO 1440 E+AUC 

VI SSll'iv/GAUC 
OK 8555 G AUC 



I .65 ZEIG 
I .15 ZEIS 



GERO 
GERO 



CLARINET MOAN/LOVE 


OK 


8539V /gauc 




GERO 


SHES GOT WHAT 1 NEED 


BB 


5829 


V 


AUC 




GERO 


B 1 NG CROSBY 














LAZY OAY/HAPPY GO LUCKY 


BR 


6306 


E 


CiJC 


4,00 


PARR 


WHERE BLUE/DANCING DARK 


BRE 


2315 


N 


AUC 


3.50 


PARR 


OOWN BY RIVER/SOON 


BRE 


1994 


N 


AUC 


3.50 


PARR 


JUNE JANUARY/EVERY 8REATH 


BRE 


1951 


N 


AUC 


3.50 


PARR 


SOUTH SEA ISLAND/ME ANO MOON 


BRE 


2263 


iN 


AUC 


3.50 


PARR 


WERE U SINCERE/ONE MORE 


BR 


6|20 


G 


AUC 




KAKE 


GHOST OF CHANCE/jUST AN 


BR 


6454 


G 


AUC 




KAKE 


LOVE ME TONIGHT /SOME THESE 


BR 


6351 


G 


AUC 




KAKE 


LEARN TO CROON/MOONSTRUCK 


BR 


6594 


E 


AUC 




KAKE 


LOVE IN BL/STRAIGHT FROM 


BR 


6936 


E 


sue 




KAKE 


OUR BIG L VE SCENE/WERE A 


BR 


6696 


N 


AUC 




KAKE 


GIVE ME HEART/lM HUMMIN 


BR 


6953 


N 


AUC 




KAKE 


LOVE IN BL/STRAIGHT FROM 


coc 


6062 


N 


SAL 


2.00 


KAKE 


ST LOUIS Bl/crE0LE(0UKE) 


COE 


898 


N 


SAL 


4.00 


KAKE 


miss, mud/therell come 


PAE 


2097 


>• 


SAL 


4.00 


KAKE 


MY KIND LOVE/AM 1 BL 


PAE 


2475 


N 


SAL 


4.00 


KAKE 


GEMS FROM G.W. SCANDALS 


TEST 


20I02E 


SAL 


6.00 


KAKE 


MR GALLAGHER SHEEN/SMALL FRY 


BRE 


2653 


N 


SAL 


4.00 


KAKE 


SOMEDAY SWEETHEART/LET ME CALLBRE 


1992 


N 


SAL 


4.00 


KAKE 


VERY THOUGHT u/TOUCH LIPS 


BRE 


3079 


N 


SAL 


5.00 


KAKE 


JIMMY VALENTINE/wRAP YOUr(blOWUp) 




E 


SAL 


5.00 


KAKE 


ME AND MOON/BEYOND COMPARE 


DE 


912 


N 


SAL 


4.00 


KAKE 


GOOONIGHT SWEETHEART/TOO LATE 


BR 


6203E/NAUC 




ZEIG 


please/waltzing IN DREAM 


BR 


6394E/NAUC 




ZEI G 


HERE LIES LOVE/HOW OEEP 


BR 


6406 


N 


AUC 




ZEIG 


HONEYS LOVIN ARMs/(mILLS) 


8R 


6525 


E 


AUC 




ZEIG 



BING CONT INUED 

LAST ROUNDUP/HOME RANGE BR 6663 V AUC — 

SEND WANTS ON CO AND Vtf 

LETS SPEML EJiTJiUlG HOME OK 2869n/eT-A I, 

BTNG CROStW BLOIU'S 

THE BOWER.Y/j I NGLE BELLS PLASTIC RECORD 3, 
SERENADE TN Bl/rOBINS AND ROSESPLASTIC REC0RD3, 

BOB CROSBY 



2992 , 3 1 38, 4027, 4397 
BLUE SURREAL/BLACK ZEPHYR 
FIVE PT BL/BIG CRASH CHINA 
SAVOY BL/SUGAR FT STRUT 

FRANK CRUMIT 
S 1 SSy/nETT I E IS Nl TW IT 

JOE DANIELS 
SWEET SUE/ST LOUIS BL 

LITTLE DAVID 
ORIG SWE T PA TOOT IE/STANDING DE 72 1 I N AUC — 

EMORY DEUTCH 
U STARTED SOMETH 1 NG/OR GA N PL BR 7979 N AUC — 
JOHNNY OODDS (ORY, DOMINIQUE) 

19 N SAL I 
|2 N SAL 2 



ZEIG 

ZEIG 

25 SNYD 

00 ARG 
00 ARG 



DE 


4290 


N 


AUC 




P 1 KE 


EDE 


2537 


N 


AUC 




PIKE 


DE — — 


E 


SAL 


1 .00 


ZAWA 


DE 


44|5 


N 


SAL 


.69 


PARK 


DEE 


7 152 


e 


AUC 




PARK 


DEE 


6300 


N 


AUC 




PARK 



DE I 729 N AUC 



DE 953 E AUC 



MY G1RL/6WEEP EM CLEAN 
LADY LOVE/BROWN BOTTOM BESS 

SAM DONOHUE 
PICK UP GROOVE/BEAT BAND 

DOROTHY DONEGAN 
PIANO 800E/EVERYDAY BL 

DORSEY BROS 



BB I 1 285 E SAL 



BB 8979 N SAL 



6909 N T-A 
8926 V AUC 



OE 3963 G AUC 



VI 26054 N AUC 



GETTING SENT I MENTAl/sI NG 

have little faith 

j ihmy dorsey 
jim/new hade bl 

tommy dorsey 
weary bl/boogie woogie 

eddie duchin 
dust on moon/never had chance vi 24664 v auc 
lights out/moon over miami vi 252(2 g auc 
ill stand by/love come out vi 25318 v auc 
isnt it heavenly/l cover watervi 24325 v auc 

billy eckstine 
opus x/real thing del 2002e/nsal 

CLIFF EDWARDS HOT COMBO 



— PIKE 

MARC 

MARC 

MARC 

05 GLOB 
00 AR G 

.75 MOUL 

.69 PARK 

LEVI 

WEND 

WEND 

KEND 

WEND 

WENO 

WEND 

WENO 

.55 MOUL 



ROY ELDRIDGE 
FISH MARKET/TWILIGHT TIME 

DUKE ELLINGTON 
SWAMPY RIVEr/hOT BOTHERED 
MISTY MORN/BL WITH FEELIN 
RUMPUS I RICHMOND/lN MELLO 
JUMPIN PUNKINS/8L SERGE 
DELTA BOUND/BLUE MOOD 
LAM8ETH WALk/pRELUOE TO KISS 

solitude/delta SERENADE 

ST JAMES INF/WHEN Sm(|0 BL BE 
DOWN IN ALLEY (wASh) 

12 st rag/rockim rhy(jungle) 
moon mist/c jam bl 
SEGER ELtTtB 

SLEEPY TIME OOWN SOUTh/nO JUG OK 5966 N SAL 
NEVER BE SAME/LETS FALL IN BB 10342 V SAL 
ZIGGY ELMAN 



DE 


1 1634 v 


AUC 




BARR 


DC 


23383N 


SAL 


.69 


PARK 


PAE 


582 N 


SAL 


1 .50 


OUNC 


PAE 


2258 N 


SAL 


1 .25 


DUNC 


VI 


26788 E 


AUC 




MOUL 


VI 


27356 E 


AUC 




MOUL 


CO 


37298 N 


SAL 


.69 


PARK 


BR 


8204 E 


AUC 




MARC 


VI 


24755 N 


AUC 




MARC 


PE 


15272 E- 




2.50 


TASC 


CO 


1 076E/ 




3.00 


TASC 


BR 


6038 E- 




-2.00 


TASC 


V 1 


27856 E 


T-A 




JACO 



.40 ZEIG 
.80 CRAW 



ZAGC.I N Z IG/OUR M I NE 
RUTH ETT ING 

ONE IN WORLD/lM WALKING CO 1 830 N SAL I 

I WANT TO MEANDER/NOW IN LOVE CO 1883 N SAL I 
DEEP NIGHT/MAYBE WHO KNOWS CC 1 801 N SAL I 

TED FIO RITO 
I WANT TO LEARN TO SPEAk/swEETBR 7478V/EAUC 
LULU8 BACK IN TOWn/u CAN BE K I BR 7452 E AUC — 

BUD FREEMAN 

THE EEL/CHINA BOY BB 10386 N AUC — 

FRISCO JAZZ BAND 
JAZ1 BANC BALL/RED WING PAC 606 N SAL I 

DIPPERMOUTH/SENSATION PAC 6|5 N SAL I 

GETTIN MY BCOTS/gEO WASH I NGTONPAC 63t N SAL I 



NONE 0 MY JELLY/MAMIES BL 
SL IM GAILLARD 

bassolcgy/ah now 
JAN GARBER 



BB 1 03 1 6 E+SAL I.|5 ZEIG 



.05 FARM 
,05 FARM 
,05 FARM 

MARC 

MARC 



,05 CRAW 

,05 CRAW 

,05 CRAW 

,C5 CRAW 



0 SOLE MIO/lF U KNEW 
ERROL GARNER 



PAC 639 N SAL I 



OK 6295 W SAL 



CO 3547 N AUC 



16 



TWISTIN CATS TA1L/M0VIN ROUND BW 

GERGE GERSHM IN 
MANY ( SEND FOR L I ST ) AUC — 

JAZZ GILLUM 

OEEP W ATER BL/COULONT HELP BB 340709N AUC — 

GOLDEN GATE ORCH (N ICHOLS— R-OLL IN I ) 

AFTER U GONE/lROB I SON) PE 14834 V AUC — 

HEART BREAKIN BABY/( C ANDULLO ) PE 14874 E AUC — 
GOLDEN i MARLOWE 

LOVE SICK DARKy/mATPIVONIAL V| 35544 E SAL . 
BENNY GOODMAN 

HOUSE HOP/ANYTHING FOR U V I 25350 N T-A I , 



26 



DISPOSITION 



BENNY GOODMAN CONTINUED 
DOWN BY OLD MILL/vOUPS IS 

zaggin with zig/busy ac a 
and the anqels/semt for u 
sai cman/goocbye 
riffin at ritz/~alexancer 
somebody lovs me. jam session 
sing sing sing 1-2 
slue room/make believe 
sweet sue/l never knew 
p und ridge/ i got it bad 
the count/l see million 
why dont u do/six flats unf 
anyth i ng/from i love to ano 
i hear rhapsody/left heart 
scatterbrain/i SWEET LETTER 
uy sister/not complaining 
tues at ten/air mail 6pecial 
ive got gal/serenade in bl 
love never went/l didnt know 
dinah/vibraphone 
8pdy soul/tiger rag 



AWAPCL A/lNTERMEZZO 

SUGLE CALL RAG/ 

LITTLE COUSIN/ZOOT SUIT 

clarinade/june BUST IN 

NOBODY BABY/BUDS WONT BUD 
DARN THAT CPEAm/pEACE BROTHER 
SLIPPED D I Sc/oMPHAPHA 
RUSSIAN LULLASyE/cHANGES 
CLARINET ALA K I Ng/hOW""LONG 
U DONT KNOW/SOMEONES RCCKING 

ON alamo/rattle ROLL 

CANT U TELL/ONCE MORE 
GOTTA EE THIS THAT 1-2 
COULD U PASs/lVE GOT DATE 
HONEYSUCKLE ROSE/sPR'NG SONG 
FIESTA IN BL/l CANT GIVE 
SWEET CA BROWN/UPUS £ 

darktown/after YOUVE 
exactly like/love leave 
•/our dangerous/birds of fea 
this is new/bewitched 
ye6 darl i nq/these things 
somebody/lm always chasing 
percidia/let C0ORKN0B 

NOT MINE/lF U BUILD 

soft as spring/down down down 
oomph fafa/after u gone 
shine/tiger rag 
down home rag/mjsic hall rag 

BUGLE CALL RAg/niT WIT 

GLEN QRAY CA3A L r MA 

NO NAME JIVE 1-2 

LIONEL HAMPTON 



C 0 


35445N/ESAL 


.70 


MOUL 


CO 


35356 


E 


SAL 


.70 


MOUL 


VI 


26170 


V 


SAL 


• 5f 


MOUL 


V 1 


2521? 


V 


SAL 


• 60 


MOUL 


VI 


25445 


■4 


SAL 


• 7 0 


MOUL 


VI 


25497 


E 


SAL 


.75 


MOUL 


VI 


25 ,'=>-. 


r. 


r«L 


.60 


MOUL 


V 1 


260RS 


E 


SAL 


.70 


MOUL 


VI 


26089 


E 


SAL 


.80 


MOUL 


CO 


36421 


N 


AUC 


~~~~ 


MOUL 


CO 


36379N/EAUC 




MOUL 


CO 


36652 


E 


SAL 


.55 


MOUL 


CO 


36305 


E 


SAL 


1 • 10 


MOUL 


CO 


36937 


E 


SAL 


1 .35 


MOUL 


CO 


35241 


E 


AUC 




MOUL 


CO 


36022 


E 


AUC 




MOUL 


CO 


36254 


E 


6AL 


— 50 


MOUL 


CO 


36622 


E 


SAL 


.70 


MOUL 


CO 


35230 


V 


AUC 




MOUL 


VI 100 100 


E 


AUC 




MOUL 


vi 4ooi oe 


E 


AUC 




MOUL 


DCo3b44 I 


N 


SAL 


• 60 


MOUL 


LAR36I36 


E 


SAL 


1 .00 


MOUL 


CO 


36050 


E 


SAL 


.70 


MOUL 


VI 


25467 


E 


SAL 


• 65 


MOUL 


OK 


6606 


E 


SAL 


• 75 


MOUL 


CO 


36823 


N 


AUC 





MOUL 


CO 


35472 


E 


AUC 




MOUL 


CO 


35331 


E 


AUC 




MOUL 


CO 


36817 


N 


AUC 




MOUL 


0 0 


11226 


t 


AUC 





MOUL 


OK 


6544V /ESAL 


.60 


MOUL 


OK 


6534 


E 


SAL 


.55 


MCUL 


CO 


36988 


€ 


SAL 


• d 5 


MOUL 


CO 


35543v/esal 


1 . 10 


MOUL 


CO 


36013 


E 


SAL 


.45 


MOUL 


VI 


26000 


E 


ALC 




MOUL 


CO 


35391 


E 


SAL 


• 50 


MOUL 


CO 


36755 


N 


SAL 


• 90 


MOUL 


VI 


26091 


V 


SAL 


•65 


MOUL 


CO 


36699 


E 


SAL 


.65 


MOUL 


V 1 


25406 


E 


SAL 


•65 


MOUL 


CO 


35977 


E 


AUC 




MOUL 


CO 


35944 


E 


AUC 




MOUL 


CO 


35910 


E 


AUC 




MOUL 


CO 


35916 


E 


SAL 






CO 


35962 


N 


SAL 


1.50 


MOUL 


CO 


36580 


E 


SAL 


.75 


MOUL 


CO 


36219 


E 


AUC- 




MOUL 




519 


V+AUC 




RATK 




556 


G 


AUC 




PATK 


COE 50 1 1 


N 


AUC 


2.00 


EMER 


COE I003N/EAUC 


2.00 


EMER 



OE 25C57 N AUC 



FLY 1 N HOME i 2/pUNCH JUDY DE 2363 

haventHnamcc it yet/im ON MY VI 26471 

MANY FOR SALE OR TRADE VI 

DE 18754,18719, 18669, |£6|3, 16394 EACH 

W.C. HANDY 
LOVELESS LOVE/WAY DOWN SOUTH 

COLEMAN HAWKINS 
I A INT GOT NOBODY/sUNr:Y SIDE 

mop mop/my IDEAL 

CLIFFORD HAYES 



N 


AUC 




ClAR 


N 


T-A 


1 .25 


SNYD 


E 


STB 




JACO 


E 


SAL 


.30 


MOUL 



8162 N SAL I.|5 ZEIG 



PAE 1625 N SAL 
COM 540 E SAL 



1.25 
.45 



DUNC 
MOUL 



CLEF CLUB ST0MP/8L TPOM 

GRACE HAYES 
I CANT GIVE U ANYTH I NG< I 928) 



AUC 



2 1 571 

HEADQUARTERS FOR COUPLE TEHMV SETS 
SPANIEP, BECHET, MEZZROW, LAOMIER, MORTON N 
HORACE HE IDT 



VI 3801 I N SAL 3.0C PI PE 
M I LL 

COHE 



MINE/HELLO CUT IE 

TURN ON HEAT/(SH ILKRET ) 

melancholy/! sh i lkret ) 
hut sut song/way u look 
julianna/tulip time 

FLETCHER HEMIEP.SON 
happy as day/(bud freeman) 
rose room/back in back ysrd 
gulf coast el/downhearted bl 
trees/whats STORY 

DICTY BL/DO DOODLE OOM 
HORACE HENDERSON 
WHEN D REAMS COME TRUe/wING 

coquette/still HAVE DREAMS 

EVELYN HERBERT 
SILVER MOON 
LOVER COME BACK 

tOODY HERMAN 
1 535, 2^"„, 2440, 4293, 
DALLAS PL/ 

WOODCHOPPERS BALL/BIG W|G 

MltT HERTH 
MANY SEND WANT LIST 



VI 20608 E AUC 

VI 22195 G AUC 

VI 22222 G AUC 

CO 36138 V AUC 

BR 8|92 V AUC 



WEND 
WEND 
WEND 
WEND 
WEND 



DE 


3885e/gauC 




POUL 


VO 


351 1 


V AUC 


1.00 


WIND 


VO 


14636 


E+AUC 


l.CO 


WIND 


vo 


3760 


E SAL 


1.25 


PIPE 


CO 


3995 


E SAL 


3.25 


PIPE 


OK 


5748 


N SAL 


1.15 


ZEIE 


OK 


584| 


N SAL 


1.15 


ZEIG 


VI 


20995 


- AUC 




MILL 


VI 


21883 


- AUC 




M ILL 


DE 




E+SAL 


1.00 


ZAWA 


DE 


2629 


N SAL 


1 .00 


ZAWA 


DE 


2440 


N SAL 


.90 


ZEIG 


DE 




N T-A 




LEVI 



WEND 
* END 
■ WEND 



HIGH HATTERS 

LOWDOWN RHYTHV./GOT A FEELING VI 22C4| V AUC 
IM DREAMER/u GOT HE V| -?2|46 G AUC 

MY FUTURE PASt/(sh|L_k) V| 22444 V AUC 

ALEX HILL 

SONG OF PLOw/LETS hAVE VO 2848 N AUC POUL 

TEDDY HILL (j* R IM CH) 
GOT Me/hERE COMES COOKIE Pf 1 6093 V+AUC POUL 

H ILLB ILLY FOLK TUNES 

MANY IN CO 15000 SERIES CO N SAL ■ • - FARM 

BR 100, CO 15000, VI 40000, MOST N SAL PIPE 

EARL HINES 

BL NIGHTS/GRAND PIANO VI 38096V/EAUC — WIND 

RHYTHM SUNDAY/CANT BELIEVE 
P I A N 3 MAN/FATHER STEPS IN 
CALL ME HAPPY/BL BECAUSE 
HIT OF WEEK RECORDS 

LANINS, SPITALNY, HfRSH ETC 

JOHNNY HODGES 

KITCHEN MECHANICS DAY 
MOON ROMANCE/YOUR 
DANCE OF GOON/HOME 
KRUM ELBOW BL/THERE 
PASSION FLOWER/GOIN OUT BACK 
SQUATTY ROO/THINGS AINT WHAT 

BOB HOPE DOROTHY LAMOUR 
FAVORITE BRUNETTE/BESIDE U 

EDDIE HOWARD-TEDDY WILSON 
EXACTLY LIKE u/wRAP YOUR TROUBCO 359|5 N SAL 

SPIKE HUGHES 



OK 


6250 


E-SAL 


.90 


PIPE 


BB 


10377 


E+SAL 


1.50 


PI PE 


SB 


10835 


E SAL 


1.15 


P IPE 


HO* 




/esal 


.50 


RATK 


VO 


491 7 


E AUC 




GERO 


OK 


5940 


V AUC 




GERO 


VO 


4941 


N AUC 




GERO 


VO 


4351 


E AUC 




GERO 


BB 


08|7 


N SAL 


1.00 


PIPE 


BB 


I |447 


E+SAL 


1 .00 


PIPE 


CP 


381 


N AUC 




ClAR 



AIR IN D FLAT/SWEET SORROW 
L IMEHOUSE BL 

ALBERTA HUNTER 
DADDY Bl/dONT HAND 

EDDIE JACKSON 



DEE 5|0| 
DEE 3004 



AUC 
AUC 



I SHAM JONES CONT INUEP 
WHY DEAR /SUNNY TEN 

LU IS JORDAN 



BR 5066 V AUC 



PM |20Cl E AUC 



SLEEPY LEAD/MY OLD 
HARRY JAMES 



ciribiribin/avalon 

flash/all or nothin (sinatra) 

SHE I K ARABY/LaST TIME 

friar rock/easy 

SEPT RAIw/920 SPECIAL 

ciribiribin/sweet ga 8R0WN 

FANNY MAY/FOUNF NEW BABY 
LA PALOMA/OONT CRY CHER I E 

AL JOCKERS 
SECONB HAND ROSE/BRING BACK 
BABY IN LOVE/LEARN T" SMILE 
HOW MANY TIMES/EVERYBODY STEP 

JOCKERS BROS 



meow/hindustan 

J. P. JOHNSON 
R 1 FFS/(OKEH RHYTHM K | NGS ) 

PETE JOHNSON 



CHERRY RED/BABY LOOK AT U 
CHERRY RED/BABY LOOK AT U 

AL JOLSON 
SUNNY BOY/RA I JBOWROUND 
USED TO U/WHY CANT U 
RUM TUM T I DOLE/HAUNTING 
LOVIN TPAUMERs/(MURRAY) 
ASLEEP IN DEEP/(W!LLS) 
REVIVAL DAY/8ACK CAROLINA 
DOWN WHERE SWANEE FLOWS 
TILLY TIT W ILL 
IM ALL BOUND ROUND 
WEDDING BELLs/(tRI0) 

rockabye baby 
ill say she does/(murra y ) 
who played poker/(fox) 
ive got capta i n 
chloe/(burr ) 
wonderful k | d 
yoo hoo/(bdy quartet) 
u got me c00k00 
every little while 
old man river 
lazy/my PAPA DOES 
I SHAM JONES 
SHENA I GANS/ UTS I OE PARADISE 
U MY THRILL/ALICE WONDERLAND 
I KNOW NOW/LAOY WHO COULDNT 
AFTER RAIN/WHOS L NGING 
HIGH BROWN 8L/SUN GOD 



FAREWELL BL/sAW MILL RIVER 
WHOS SORRY NOW/SWINGIN DOWN 
EASY MZi_ODy/sOMEBODY WRONG 

mama loves papa/stealin 

steppin out/one i .0ve 

my best girl/gotta get girl 

remember/oh boy what girl 

kismet/h^ppy 

make 8el1eve/d0 u ever 

wabash bl/ma 



VO 


2734v/gauc 






CO 


35316 


N 


AUC 





KEND 


CO 


35587 


N 


AUC 




KEND 


PH 


70E/VAUC 




POUL 


CO 


36996 


N 


AUC 




ORR 




5l8 


G 


AUC 




WATK 


BR 


8327E/VAUC 




OUL 


BR 


8406 


E 


AUC 




MOUL 


CO 


36146 


E+AUC 




MOUL 


VO 


14219 


V 


AUC 




WEND 


VO 


|422| 


V 


AUC 




WEND 


VO 


14255 


G 


AUC 




WEND 


CO 


2639 


V 


AUC 




WEND 


PAE I072N/EAUC 


3 .00 


EMER 


OK 


4997 


E 


SAL 


1.00 


PIPE 


VO 


4997 


E 


AUC 




PARK 


BR 


4033 


V 


AUC 




WEND 


BR 


4401 


G 


AUC 




WEND 


VI 


17037 


V 


AUC 




WENO 


V 1 


|7| |9 


V 


AUC 




WEND 


VI 


17915 


V 


AUC 




WEND 


CO 


1 62 1 


V 


AUC 




WEND 


CO 


2007 


V 


AUC 




WEND 


CO 


2296 


G 


AUC 




WEND 


CO 


2478 


G 


AUC 




WEND 


CO 


251 2 


G 


AUC 




WEND 


CO 


2560 


V 


AUC 




WEND 


CO 


3746 


Q 


AUC 




WEND 


CO 


2787 


V 


AUC 




WEND 


CO 


2794 


V 


AUC 




WEND 


CO 


2861 


V 


AUC 




WEND 


CO 


2898 


V 


AUC 




WNO 


CO 


3513 


G 


AUC 




WEND 


oc 


3984 


V 


AUC 




WEND 


CO 


2l8l 


G 


AUC 




WEND 


BR 


3867 




AUC 




MILL 


BR 


2595 


E 


AUC 




MORI 


VO 


391 1 


V 


AUC 




WEND 


VI 


24516 


G 


AUC 




WEND 


RO 


70607 


V 


AUC 




WEND 


BR 


2243 




AUC 




WEND 


BR 


2271 


V 


AUC 




WEND 


A Y8R 2314 


V 


AUC 




WEND 


BR 


2323 


G 


AUC 




WEND 


BR 


2406 


V 


AUC 




WENO 


BR 


2438 




AUC 




WEND 


BR 


2500 


V 


AUC 




WEND 


BR 


2506 


G 


'AUC 




WEND 


BR 


2567 


V 


AUC 




WEND 


BR 


2750 


G 


AUC 




WEND 


OR 


2963 


V 


AUC 




WEND 


BR 


5021 


C. 


AUC 




WEND 


BR 


5049 


V 


AUC 




WEND 


BR 


5065 


V 


AUC 




WEND 



ST VITIS 0ANCE/800GIE 


DE 


853 1 e/vauC 




GERO 


MAMA MAMA BL/SMALL 


DE 


8627 N AUC 






HONEY IN BEE/BARNACLE 


DE 


7556 N AUC 




GERO 


ROBT E LEE/OH 


DE 


3360 E AUC 




GERO 


HARD LOVIN BL/u 


DE 


7705 N AUC 




GERO 


JUNGLE' BAND 










RL WITH FEELING/MISTY 


VO 


3229E/VAUC 




P IPE 


EDO IE KELLY* ASHBOARD 


BAND 








SHIM SHAMMY/wASHBOARD SAM 


BB 


7 1 48 E SAL 


.90 


PIPE 


TEMPO KING (MARSALA , C ONDON,RUB IN, ) 






XWING HIGH/FLOAT IN 8UBBLE 


BB 


6780 E SAL 


1.00 


BARR 


•AYNE KING 










stardust/speakeasy 


VI 


24509 N AUC 




CRAW 



JOHN KIRBY 



MAX I NE DENGOZa/920 SPECIAL 

MOP MOP/PASSIPIEB 

J.K. SPECIAL/KC CABOOSE 

ORVILLE KNAPP 
GOT T E LOWDCWN/riiGHTS 

GENE KRUPA 



AS 


3571 


N AUC 


KEND 


AS 


3572 


N AUC 


KEND 


AS 


3573 


N AUC 


K END 



BR 767 1 N AUC 



BR 8 1 6 1 E AUC 

OK 6|06n/et-a 

OK E T-S 

CO 36802 E SAL 



THERES HONEY ON THE MOON 
HAMTRAMCk/w 1 RE BRUSH STOMP 
MANY WITH VOCALS ONLY 
LEAVE US LEAP/DARK EYES 

WHATS THIS/THAT DRUMMERS BAND CO 368(9 N SAL 

YESTERDAYS/HOP SKIP JUMP CO 3693l N SAL 

ON THE BEAM/HOOGE PODGE CO 35262 E SAL 

THREE LITTLE WORDS/yOUR LUCKY CO 35366 E SAL 

TIGER RAG/SIERRA SUE CO 35454 N SAL 

ton i ght/never took ok 57i5e/vsal 

ALL COMES PACK/HIGH OK 5883e/vSAL 

DOWN ARGENTINA WAy/TWO OK 5826 E SAL 

APURKSODY/jU GLE MADNESS OK 5997 E SAL 

LITTLE BIT SOUTh/lETS GET AW OK 6 1 30 N SAL 

FIGHTIN DOUG/NIGHT NIGHTS OK 6635 N SAL 
7 KAY KYSER(G INFv'Y SIMMS' ) 

**T LONG LAST LOVE/NO RHYME REAS0N8R8209EAUC 

WHEN I GO DREAMI N/PR| NCE BR 82 1 5 E AUC 

DONT BRING LULU/DEVIL HOME T BR 7555 E AUC 

UMBARELLA MAn/s|XTY SECS BR 8225n/eAUC 

1 FELL UP HEAVEN/BETWEEN KISS 8R 8279 E AUC 

GERTRUDE LAWRENCE 

SOMEONE TO WATCH OVER ME VI 20331 N AUC 
SOMEONE TO WATCH OVER ME/DO DO D02033I N T-A 

POOR JOHN OE 23446 - AUC 

SOMEONE TO WATCH VI 2033l - AUC 

LEADBELLY 



MARC 

I -.25 SNYD 

JACO 

.55 MOUL 

.60 MOUL 

.60 MOUL 

.60 MCUL 

.65 MOUL 

.65 MOUL 

.55 MOUL 

.50 MOUL 

.60 MOUL 

.40 MOUL 

.60 PARK 

.69 PARK 

— — — MARC 

MARC 

MARC 

MARC 

MARC 

ORR 

I .50 LEVI 

M I LL 

M I LL 



GRAY GOOSE/SCREWSALL 


VI 


27267 


E 


SAL 


1 .00 


P 1 PE 


HAM EGGS/MIDNIGHT SPECIAL 


v 1 


27266 


E 


SAL 


1 .50 


PIPE 


IM ON LAST 


BB 


8981 


E 


SAL 


1 .00 


P IPE 


TED LEW 1 S 














BROADWAY ROSe/mARGIE 


CO 


3351 


E 


AUC 




ORR 


R0S1E POSIE/EVERY DAY 


CO 


3591 


N 


AUC 




ORR 


DARK STRUT BALL/ALFX RAG BAND CO 


I084E/GAUC 




KEND 


CLYDE LUCAS 














WRECKED BRORE/ DEEP HEART 


rEXASEL 


5015 


E 


AUC 




MARC 


BLUES IN NIGHT/l SAIO NO 


EL 


5010 


N 


AUC 




MARC 


U GOT ME/THE SKY 


DE 


■2149 


N 


AUC 




MARC 


LUMBERJACKS 














WHOOPEE ST0MP/(CAR0LINERS) 


CA 


9030 


V 


SAL 


1 .50 


PI PE 


JIMMY LUNCEFORD 














TAINT WHAT U DO/cHEATIN ON 


ME VO 


4582 


E 


AUC 




MARC 


HARLEM SHOUT/CANT ESCAPE U 


DE 


980 


V 


AUC 




MARC 


WHITE HEAT/U CAN FOOL SOME 


VO 


5|56 1 


:/pauc 




MARC 


MIXUP/BLUE AFTERGLOW 


CO 


35919 


N 


AUC 




MA RC 


BACK DOOR STUFF 1-2 


OE 


18494 


N 


AUC 




MARC 


PRETTY YES/TIME TO JUMP 


VO 


5430 


V 


SAL 


.70 


MOUL 


JEEP RHYTHM/l DREAM LOT 


DE 


18618 


V 


SAL 


.60 


MOUL 


LIKE SHIP AT SEA/MARGIE 


DE 


1617 


E 


AUC 




MOUL 


BACK DOOR STUFF 1-2 


DE 


18594 


E 


AUC 




MOUL 


WHITE HEAT/jAZZNOCRACY 


BB 


57l 3 


N 


SAL 


.69 


PARK 


CLAUDE LUTER 















ALL THE GREAT FRENCH PACIFICS SWING 
AND HARMO BRAND NEW FROM FRANCE 

MATTY MALNECK 
ALL SENO WANT LIST 

WINGIE MANONE 



JUST ONE G1RL/SHES CRYING 

FREDDY MART IN 



CO 35665 N SAL I . I 5 ZEI E 



TELL ME U LOVE ME/WAY BACK 
MY INTRODUCTION TO LOVE/LIFE 
D ICK MC DONOUGH ( OH ICK 



7438 E AUC 
7422 E AUC 
LLOCK VQC) 



G R 



•SCENE CHANGEs/BEACH BALI* ME 60808 E AUC 

OLD FEELING/u ANO I KNOW CQ 8903 E AUC 

BROWNIE MCGHEE 
STEP UP AND GO # 2/wORKlNG MANOK 6698 E AUC 

MEWPH IS F I VC 

LONESOME MAMA Bl/lONGING BL PU 1I13|e/vAUC 

OTHERS SEND WANTS ANO BIDS AUC 

GENE KRUPA 



MADAM SWINGS IT/QUIET ROLL EM PAE 29 1 3 N AUC 
LET ME OFF/FLAMINGO n« 620l V AUC 

COWBOY S ERENADE/rEVELLE OK 6266 V AUC 



■ MARC 
MARC 



BARR 
OA RR 



EDMQ 
EDMO 



EDMO 
EDMO 



FOR DISPOSITION 



27 



j:as verrill 

HOW DID HE LOOk/mISS JOHNSON 68 10986 N AUC 

AS IB U DIONT KNOw/twIDDLIN BB II|49v/eAUC 

MEZZROW LADN IE C 
COMPLETE BRAND NEW SET OF 8 HMV 
PLUS A NINTH FREE NEW GIFT DISC 

GLENN M ILLER 

10269 10286 10587 1 06 1 2 ea ■ 

10665 10845 10900 10982 BB • 

1 1 163 11443 11474 I 1 230 BB • 

I 1382 10931 I 1 386 I |40| BB • 

27934 27935 27953 20-1509 vi • 

20-1529 20-2412 VI - 
WISTFUL BLUE/ANYTIME 
MY Fl NE/s ILHOUTED 

MILLS BLUE RHYTHM BAND 



W I ND 
W | ND 



H SAL t 1 5 COHE 



BE N/ESAL1 

BB n/e SALI, 

e; n/ztal I 

OB N/E SALI 

VI n/e SALI. 

vi n/esal I, 

DE I2e2v/EAUC — 
BR 8034 G AUC — 



?5 ZAWA 
25 ZAWA 
25 ZAWA 
25 ZAWA 
25 ZAWA 
25 ZAWA 

GERO 

GERO 



OK 61 19 N SAL I .40 ZEI G 

POUL 



3688 E+AUC 



R I DE RED RIDE/CONGO CARAVAN 

MILLS BROTHERS 
SH1NE/GA ON M I NO 

MITCHELLS CHRISTIAN SINGERS 
BRIDEGROOMS HOMECOM I NG/wALK WITH0K5786 N AUC — 

)TT5 MONOELLO 
BURN 1 N STICKs/hERES YOUR CHAN RY f 8 1 7 N SAL 1. 

MOONLIGHT AND PRETZEI 
TRANSCR IPT ICN 

RUSS MORGAN 



E AUC 



HMV — N SAL t 

BB 10194 N SAL I , 

HOM JC54 N SAL 2, 

VJR 19 N SAL I , 

VI 38527 e su. 5. 

HMV 9221 N AUC 2, 



FANCY MEETING u/lLL S I NG U BR 7742 E AUC 
LADY MEETS GENT/SWEETHEART AL0HABR7728E/NAUC 
DOES YOUR HEART BEAT/FOUND ROSEBR 7672 E AUC 

JELLY ROLL MORm 
COMPLETE BRAND NEW SET OF 6 
TURTLE TWIST/SMILIN THE BL 
GRANDPA SPELLS/CANNON BALL 
TROMBONE MOANIn/u DDY WATER 
SEATTLE HUNCh/fREAKISH 
MOURNFUL SERENADe/ga SEH 

BENNY MOTEM 

TO GH BREAKS/lTS HARD TO LAUGHVI 38037v/GAUC 
SPUD MURPHY 

ECSTACY/DANC ING WITH DEB DE 2|09 N SAL 

NAPOLEONS EMPERORS (LANG, TP, JO) 

MY KINDA LOVE/MEAN TO ME 8B 7|0| N AUC 

NEI FRIEMDS OF RHYTHM 

SWEET E ': 0 v.f ; :.o VI 27412 N SAL 

NEI 0RLENA5 BOOTBLACKS AND WANDERERS 

MAO OOG/FLAT FOOT 



ARG 

15 ZEIG 

KAKE 

MARC 

MARC 

MARC 

I I COHE 

65 ZEIG 

00 ARG 

.50 ARG 

.60 PIPE 

.00 EMER 

KEND 

.65 MOUL 

LEVI 



VJR 
VJR 
VJR 



1 N SAL 

2 N SAL 

3 N SAL 
N SAL 



I cant say/mixed salao 
papa dip/too tight 
peroioo/gate mouth 
NORK 

WEARY BL/WOLVERINE BL CO 509 N SAL 2 

shimueshawabble/milneberg joys JA ZZ5006 N SAL 2 

GOLOEN LEAF -TRUT/SHES CRYIN PLA I 1 6 N SAL 2 
FRANK IE NEf TON 



,00 VJR 

■CO VJR 

,00 VJR 

.00 VJR 

,C0 ARG 

,C0 ARC 

,00 ARG 



VS +6|6 V+AUC 1.50 PARR 



BR 67l I 

VI 23033 



CO 


3047 


E+AUC 


AVER 


VI 


26421 


E AUC 


AVER 


VI 


26434 


E AUC 


AVER 



WHERE OR WHEN/EASY LIVIN 

RED NICHOLS f BG ) 
SWEET AND HOT/l GOT PHYTHM 
AT LAST IM HAPPY/|F U HAVE 

GERTRUDE N IE5EN 
LATIN FROM UANh/mICDLE KISS 
KATIE WENT HAITI 
LOVE BECONEo/flEI SKAN 

ray noble 
blue danub£/| l ve u truly 
yam/yam step(astaire) 
tiger rag/japanese sandman 

RED NORVO 

I 8URREN0ER DEAfl/OLO FASH 1 0NEDC0 35688 N SAL 

OKEH LAUGHING RECORD OK 4678 E AUC 

OLD COLUMBIA VOCALIST S 
OSCAR GROG AN, CHARLES HAUP, EO LOWRY 



WATE 

.50 PIPE 



VI 


24806 


N 


T-A 


BR 


1.STJ 


E 


SAL 


VI 


24577 


E- 


•SAL 



.00 LEVI 
.15 PIPE 
.50 P IPE 



MILTON WATSON AND OTHERS 
KINQ OLIVER 



CO 



N SAL 



BRS 2 


N 


SAL 


1 .05 


GLOB 


HC 17 


N 


SAL 


1.05 


GLOB 


HJCA 13 


N 


SAL 


.99 


ARG 


VJR 


N 


SAL 


2.00 


ARG 


JAZZ5008 


N 


SAL 


1.50 


ARG 


VJR 22 


N 


SAL 


2.00 


ARG 


'ragvjr 28 


N 


SAL 


2. CO 


ARG 


BRE 3575 


N 


AUC 




MARC 


QE 5274 


V 


AUC 




PENN 


VO 1007 


P 


AUC 




PIPE 



CAMP MEET I Ng/lONOON BL 
LONDON CAFE BL/CAMP MEETING 
CHATANOOGA STOMp/n .0 . STOMB 
RIVERSIDE BL/MABELS DREAM 
JUST GONE/lM GO IN AWAY 
WHERE 010 YOU 6TAY LAST NITE 
MABELS DREAM/RIVERSIDE 
ALLIGATOR STOMp/kROOKED BL 

TOO bad/shag it (any offer) 

K 10 ORY SUNSHINE ORCH 
CREOLE TROM/SOCIETY BL 

T I NY PARHAM-SAM THERD 
FROQTCWN Bl/sPODEODEE 

JACK PETTIS 

SPAMBH DREAM /DO IN NEW LOWDOWNVI 21559 N SAL 2 

BEN POLLACK ORCH (BG, TEA ) 
louise/wait til u cee Cher ie vi 2|94| n auc — 

BASHFUL BABY VI 22G"< F AUC - 

FRECKLE FACE/lVE COI 2531 V AUC — 

COLE PORTER (PIANO 4 VOCAL) 
YOUR THE TOP/THANK U SO MUCH VI 24766 N AUC — 



PX 3 N SAL I .05 GLOB 

DE 7780 N SAL I. I 5 ZEIO 
50 PIPE 



CRAW 
CRAW 
GERO 



TEDDY POWELL 



SERENADE TO MA I d/| LOVE U BB 11373 E AUC 

SAM PR ICE TEXAS BL SIC I ANS 
LEAD ME DADDy/alL RIGHT DE 8649 N AUC 

QUINTETTE HOT CLUB FRANC E 

DEE4|Cl0 N AUC MORI 

DEE4I01C N AUC +-.50 EMER 



MOUL 



ARG 



liza/belleville 
l iza/bellev I LLE 

yank rachell 
bye bye bl/katie lee bl 

boyd raeburn 
tonsilectomy/forgetful 

YEPXa/riP VAN WINKLE 
BOYD MEETS STRAVINSKy/| ONLY 
N _ATZ RANDALL 

BESSIE COULDNT/l GET THE BL 
DON REDMAN 



8B3407I5 N AUC 



JE 


10000 


E 


SAL 


.70 


MOUL 


JE 


10001 


E 


SAL 


.75 


MOUL 


JE 


iooob 


E 


SAL 


.70 


MOUL 



WE DONT KNOW FROM NOTHIN 
RHYTHM CLUB LONDON 

WM TELL/'J GAVE ME ' 
JOE ROBECHAUX N.O. 



BR 433IE/NSAL I.|5 ZEIG 



VO 3359 E SAL I .25 P I PE 



BB 10557 N SAL I .4C ZEIG 
RHYTHM BOYS 

AUC GERO 

AUC GERO 



-?643 

2575 



I 21866 V+SAL 1.00 w I ND 



PIKE 
GERO 



SOLa/i WOULD 00 V 
RING OEM BELLS/40 V 

WILLARO ROBISON/J. MARVIN 
IF I HAD U/SUN AT WINDOW 

HARRY ROY 

HOME AGAIN BL/MILENBERG JOYS DE 2086 N AUC 
FOUND NEW BABY DE 2752N/EAUC 

SAVOY BEARCATS 
HOT NOTE/STAMPEDE VI 20460 V AUC 

ROOSEVELT SCOTT 
DR BILL BL/BE MY BABY VO 5502 E AUC 

PANAMA SPECIAL/LOOK UP AND DOWNVO 54;5 E AUC 

BEN SELVir: 

UNOER UKE TREE/lF | KNEW 



3|30 
18633 



OaRDANELLA/| SLE GOLDEN DR VI 

SEVEN GALLON JUG BAN 
wipe em off/what co 2087v/eauc 

ARTIE SHAW 

ONE FT IN GROOVE/l N I TE ST IB 10202 E+AUC 
POURED HEART SONG/.HEN WINTER BB 10307 V AUC 
BL IN NITe(lIPS PA GE ) VI 27609 E+AUC 

SWEET ADELINE/HOW DRY AM I VO 4|82 V AUC 

NAT SHILKRET (BI LLY MURRAY VI 

v l 20474 E SAL 



.65JAC0 
.65 JACO 



.25 BARR 
.35 BARR 



EDMO 
EDMO 
EDMO 
JAME 



r.KAJOu/RI 0 R I TA 
BESSIE SMITH 



LONG OLD ROAD/SHIPWRECK BL 
GIMME PIGFOOT/TAKE ME FOR A 
MIDNIGHT BL/BLEEDING HEART 
OUTSIDE THAT/MAMAS GOT eL 
YCOELING BL/LAOY LUCK BL 
HOUSE RENT BL/WORK HOUSE BL 

JSEPH C. SMITH (FREY AND BANTA PA) 
OH MY DEAR/SOMEBODY SWEETHT 

vamp/tell ME 

CARAVAN/PAUL BIESE ORCH 

WILLY THE LION SMITH 
baba/tfopical MOOD 

MORN I N A I R/pA SSHONETTE 
BOYD SENTER 



CO 


14663 E+T— A 




WATE 


OK 


8949 N SAL 


*4.00 


PIPE 


CO 


3936 N AUC 




JAME 


CO 


3900 N AUC 




JAME 


CO 


3939 N AUC 




JAME 


CO 


|4032e/vaUC 




PARR 



18662 



8360 



F 


SAL 


.50 


BARR 


E 


SAL 


.30 


BARR 


E 


SAL 


.30 


BARR 



,65 JACO 
MARC 



NASTY MAn/sWEET 

EDDIE SOUTH 
KAT I /MAR'HETA 

MUGGSY SPAIIIER 
AT JAZZ BAND/LIVERY STABLE 
COMPLETE BRAND NEW SET OF EIGHT HMV 
PLUS A NINTH FREE NEW GIFT DISC 

IJ0384, AND 10532 BB 

i 'PPERMOUTh/s I STER KATE BB 10506 N AUC 

IPPERMOUTH/BIG BUTTER EGG MANHMV 9033 N AUC 
D1 PPERMOUTh/s I STER KATE BB I 0506 N AUC 

VICTORIA SPIVEY 
I HOUR MAMA/GOT THE BL 

JESS STACY 
GOOD MAN HARD FIND/HAREM 

STUYVESAMT STOMPERS ( BLUMBERG ) 
shine/blue TAIL FLY PX 

MAX INE SULLIVAN 
PLEASE BE KIND/MOMENTS LIKE V| 25802 N AUC 

ART TATUM (WITH BA RNEY BIGARD SIX) 
BL FOR ART SAKE/SWEET MB 

JACK TEAGARDEN 
A RHYTHM HYM/BL RIVER 

TENNESSEE TOOTERS 
GROUDHOG Bl/chANATCOGA 

THREE KEYS 
FOUND NEW 8A8Y 

SOPHIE TUCKER 



VO 266I V AUC G 

VI 22847 N SAL I .00 BARR 

HMV 9042 N SAL 2.00 ZAWA 
N SAL 8 1 5 COHE 

N COHE 

N SALSl EA JACO 
PIKE 
EMER 
PARK 

VO 3505N/VT-A I .00 SNYD 
VS 8|40 N SAL I . I 5 ZE IG 



N SAL I .05 GL08 



1 3 N AUC 



DE 407I N SAL .69 PARK 



I44 E SAL 2.25 PIPE 



VO 2569 V AUC 



SOME THESE DAYS 1928 
MANY SEND FOR LtST 

TURNER AND JOHNSON 
GO IN AWAY 8L/R0LL EM PETE 

UNIVERSITY SIX 



VI 22049 - AUC 



VO 4607 E+AUC 



CONSTANTINOPLE HA 653 E AUC 

CAMEL WALK/SAILORS SWEETHEART HA 36 E AUC 

RUDY VALLEE 



MILL 

CARV 



EMER 
BARR 



DRUNKARD SONG 



VI 24739 N AUC 



8l47 N SAL 
8173 N SAL 

2523 E AUC 



VARSITY SEVEN 
EASY RIDER/TIGHT LIKE THAT 
POM POM/HOW LONG 8L 
VOODODODEO BL/ 

VEHUTI LANG 
WILDCAt/dOIN THINGS 

JOE VENUTI 

LIKE MELOOY FROM SKY/BECAUSE 8A0K4I056 E AUC 
SOMETK 1 1* g/ NOT H I N OE 23|2 E SAL 

HONEYS LOVIN ARMs/GOIN HOME OK 4|25| N AUC 
RAG IN THE SCALE/PUT TAKE OK 4|432 N AUC 

BEA WAIN 

HELLO MA I DONE I t/hOW DID IT GETV I 2726 3n AUC 
FATS WALLER 

A I NT M I SBEH/SAVANNAH SUE VI 22 I 08 N AUC 

SOCKS DONT MATCH/UP JUMPED U RB 8|4 N AUC 
LIVER LIP JONES/COME DOWN 68 llOlO N AUC 

U OUTSMARTED SELF/HOLD TITE BB 1 0 1 1 6 N AUC 
U MUST BE LOSIN MIND/DONT GIVEB8CII539 N AUC 
PAN PAN/OH BA6Y SWEET 88 11383 E AUC 

HONEYSUCKLE ROSe/bREAKIN ICE VI 24826 N AUC 
SWING DEM JINGLE/GONNA BE SORRYV 1 20 1 602N AUC 
WASHBOARD SAM WASHBOARD BAND 



1.65 ZEIG 
I .65 ZEI G 
EMER 



BACK DOOr/wE GONNA MOVE 
GET DOWN BROTHER U ST LE 



BB 10280 N SAL 1.40 ZEIG 



BARR 

.50 BARR 

CRAW 

CRAW 



JAME 
MARC 
MARC 
MARC 
MARC 
MARC 
MARC 
MARC 

C I AR 
ARG 



7001 N AUC 
9018 N AUC 



WASHBOARD WONDERS (WELLSTOOO) 
MESS AROUND/BORDELLO DAYS 

STEVE WASH INGTON 
BL RIVER/LOVE ME 

ETHEL WATERS 
DOWN MY SOUL/STOP SELF 

DOWN soul/worrying 

LU WATTERS YERBA BUENA 
MAPLE LEAF RAg/bLACK WHITE 
SMOKEY MOKES/MUSCRATRAMBLE 
CAKE WALK I N BAB 1 Es/r I VERS I DE 
MILENBERG JOYS/DADOY DO 
SUNSET CAFE St/l0ND0N BL 
HIGH SOCIETY/TERRIBLE BL 
CANAL ST BL/ANTIGUA BL 
CREOLE BELLES/CHATANOOGA 
TROMBONE RAG/SUNBURST RAG 

CHICK WEBB 
UNOER SPELL EL/LITTLE BIT 
TISKET TASKET/LIZA 
SQUEEZE ME/DREAMS COME TRUE 
A INT WHATCHA DO/CANT STOP LO 
CHEW CHEW CHEW/SLUMBERT IME 

MAE WEST 
EASY RIDER/GUY WHAT TAKES 

FRANK WESTPHAL 
STACK 0 LEE BL/FORGETFUL 

PEETIE WHEETSTRAW 
WHAT THAT/NO COUNT 
8 I G APPLE BL/TWO 

EDNA WHITE 
BRAHMS LULLABYE/OLD REFRAIN 

PAULW H ITEMAN 



PX 


2 


N 


SAL 


1 .05 


GLOB 


VO 


2609 


V 


AUC 




GERO 


8B 


1 1284 


N- 


AUC 




MARC 


B6 


1 1264 


N 


SAL 


.69 


PARK 


JAZZ 


BAND 










JM 


1 


N 


SAL 


1 .05 


CRAW 


JM 


3 




SAL 


1 .05 


CRAW 


BL JM 


5 


N 


SAL 


1 .05 


CRAW 


JM 


13 


N 


SAL 


1 .05 


CRAW 


JM 


13 


N 


SAL 


1 .05 


CRAW 


JM 


15 


N 


SAL 


1 .05 


CRAW 


WC 


101 


N 


SAL 


1 .05 


CRAW 


WC 


102 


N 


SAL 


1 .05 


CRAW 


WC 


103 


N 


SAL 


1 .05 


CRAW 


DE 


831 


V 


AUC 




MARC 


DE 


1840 


E+AUC 




MARC 


OE 


|7|6 


E 


AUC 




MARC 


1 DE 


2310 


E+AUC 




MARC 


DE 


2389 


E+AUC 




MARC 


BR 


6495 


E 


AUC 


3.00 


PARR 


CO 


32 


N 


SAL 


1 .05 


FARM 


DE 


7823 




AUC 




GERO 


DE 


7753 


N 


AUC 




GERO 


CO 


2603 


V 


AUC 




WH 1 T 



HAD BE u/HOODOO MAN 


VI 


19339 


E 


AUC 


CARR 


SWEETHEART LANe/yANKEE PR 1 NCESSV 1 1 8977 


E 


AUC 


CARR 


TRICKS/COAL BLACK MAMMY 


VI 


8939 


E 


AUC 


CARR 


SECONF HANO ROSE/HAVE U FORGOTTEN 1 881 8 


E 


AUC 


CARR 


LEARN TO S'RUT/THIS IS VENICE 


VI 


19252 


E 


AUC 


CARR 


KALVa/eVERYBODY STEP 


VI 


18826 


E 


AUC 


CARR 


MAKE 8ELIEBE/S0ME LITTLE BIRD 


VI 


18742 


E 


AUC 


CARR 


APRIL SHOWERS/WEEP NO MORE 


VI 


18825 


E 


AUC 


CARR 


VALENC 1 a/nOMORE WORRY 


VI 


20007 


E+AUC 


CARR 


RAMONA/LOVELY MELOOY 


VI 


2l2l4 


E 


AUC 


CARR 


LAST NIGHT/lF 1 CANT GET 


VI 


19139 


E 


AUC 


CARR 


NO FOOL IN/LULU BELLE 


VI 


20019 


•E 


AUC 


CARR 


ciribiribin/just MEMORY 


VI 


20081 


E 


AUC 


CARR 


BROKEN HEARTED/cOLLETTE 


VI 


20757 


E 


AUC 


CARR 


journeys end/hearts young 


VI 


ie985 


E 


AUC 


CARR 


avalon/best ever medley 


VI 


35701 


E+AUC 


CARR 


MY BL HEAVEN/(RW KAHn) 


VI 


20828 


E 


AUC 


CARP 


ORANGE GROVE/ DANCING H0NEYM00NV 1 1 9 1 69 


E 


AUC 


CARR 


CANAOIAN CAPERS/B IM INI BAY 


VI 


18824 


E 


AUC 


CARR 


CRINOLINE DAYS/PACK UP SINS 


VI 


18983 


E 


AUC 


CARR 


DEAR OLD 60UTHLAND/CALL IT 


VI 


18856 


E 


AUC 


CARR 


1 GAVE U Up/lVY 


VI 


19003 


E 


AUC 


CARR 


INDIAN LOVE CALL/TELL HER 


VI 


19517 


E 


AUC 


CARR 


IN 60UQUET/ANGEL MIA 


VI 


21388 


E 


AUC 


CARR 


JUST AS LONg/bLOWINBUBBLES 


VI 


18960 


E 


AUC 


CARR 


PARADE/M» GALLAGHER 


VI 


19007 


E 


AUC 


CARR 


LOVE HAS WAY/YES YES IN EYES 


VI 


19309 


E 


AUC 


CARR 


whispering/japanese SAND 


VI 


18690 


N 


AUC 


CARR 


WONDERFUL ONe/nEATH MELLOW MO 


VI 


1 9019 


E 


AUC 


CARR 


NEATH SOUTH SEA MOOn/up U 


VI 


1891 1 


E 


AUC 


— CARR 


IN LOVE WITH LOVE/RAGGEDY ANN 


VI 


19187 


E 


AUC 


CARR 


ROSE MARIE/MY ROAD 


VI 


19461 


E 


AUC 


; CARR 


ORIENTAL F0RXTR0P/3 OCLOCK 


VI 


18940 


E 


AUC 


CARR 


1 NEVER KNEW/DO U 1 EVER THINK 


VI 


18734 


E 


AUC 


CARR 


COMI N0/MAMMY 


VI 


18737 


E 


que 


CARR 


MANY 18000-19000 SERIES 


VI 






AUC 


RATK 


MISSOURI WALTZ/BEAUTIFUL OHIO 


V 1 


20973 


N 


AUC 


MROI 


IN LOVE AGAI n/(rHYTHM BOYs) 


VI 


20646 


n 


AUC 


— — ORR 


fallinleaf/shanghai dream man 


VI 


20683 


N 


AUC 


ORR 



28 



DISPOSITION 



WHITEMAN COMT INUED 



BROADWAY/MANHATTAN MERRY 


V 1 


20874 N 


AUC 





ORR 


WONT BE LONG NOw/5 STEP 


VI 


20883 N 


AUC 





ORR 


SONYA/GOT NO TIME 


VI 


19721 N 


AUC 




ORR 


DAYS OF HEART/PEACEFUL VALLEY 


VI 


19790 N 


AUC 




ORR 


SWEET LOWDOWN/CERTA IN FEELING 


VI 


19920 N 


AUC 




ORR 


LULU BELLE/NO FOOL IN 


VI 


20019 N 


AUC 




ORR 


shak I N bl/maybe its u 


VI 


20885 N 


AUC 




ORR 


so blue/song wanoerer 


VI 


20570 N 


AUC 




ORR 


g i golette/southern rose 


VI 


I9694 N 


AUC 




ORR 


CLARENCE WILLI AMS BLUE 


■ IVE 








barefoot bl/oo it long time 


'K 


8073 V 


AUC 






sashay/jig fat mama 


VO 


2838 e/vauci .25 


Wl NO 


TEXAS MOANER/COAL CART BL 


HC 


|8 N 


SAL 


1.05 


GLOB 


wiloflower rag/midnight stomp 


M F 


105 N 


SAL 


1.05 


CRAW 


LIZa/SALLY GOODING 


VO 


4|69 E 


SAL 


1.55 


P 1 PE 


CUSHION FT STOMP/TAKE 


OK 


8462E/GAUC 




GERO 


anytime/sweet 


CO 


1 43 1 4f/< 


AUC 




GERO 


WARN OUT Bl/whIP 


OK 


8790 G 


AUC 




GERO 


LOG CABIN BL/SWEET 


OK 


8572 v 


AUC 




GERO 



COOT IE WILLI AMS 
SWINGTIME HONOLULU/ 
AINT GRAVY GOOD 

SONNY BOY WILLIAMSON 



VO 406|v/eauc 
VO 4726e/vauC 

BB340722 N AUC 



GERO 
GERO 



BR 7673E/NAUC 

8R 83i9n/eauc 



CHECK UP ON BA8Y/wtN WAR 

TEDDY WILSON (HOLIDAY' ) 
MARY HAD LAMB/TOO GOOO TRUE 
•SUGAR/MORE THAN U KNOW 

"SPREAD IN RHYTHM/U LET ME OOWNBR 758l E/VAUC 

•THESE THOSE/SUGAR PLUM* BH 7577 E AUC 

BLUE MOODS 1-2 PAE 2"'4| N AUC 2.50 

HEART OF M IRE/SAY GOODBYE MU 3|7 N AUC 

MOMENTS LIKE THIs/cANT FACE MUBR 8ll2v/GAUC 

GIVE U ANYTHINg/(b|LLIe) BR 778] E AUC 

WOLVERINES 
SENSATION/LAZY DADDY 
2203,2204,2205 

MARGARET YOUNG 
DOODLE 000 DO/TOO T I RED 

BOB ZURKE 



GRE E/VAUC 

BRE • — N SAL 



BR 2673 V AUC 



MA RC 
MARC 
MARC 
MARC 
EMER 
KEND 
KEND 
KEND 

EOMO 
FARM 



HONKY TONK TRA 1 n/mELANCHOLY 
NEW BABY/BETWEEN DEVIL 
TEA FOR T*0/| LOVE U 
RUMBOOGIE/COW COW BL 
SEND WANT LIST FOR OTHERS — 

RED ONION JAZZ BABIES (J.BEATTY) 
EARLY EVERY MORN/rJOBODY KNOWS GE 5626 

ALBUMS 



VI 26342 N SAL I .65 
I 26355 N SAL 1.65 
VI 26561 N SAL I .65 
VI 26646 N SAL I 



.65 



ZE I G 
ZEI G 
ZE I G 
ZEIG 
ZE I G 



V AUC 



FRANK S I GNORELL I JO 

ERSKINE BUT TERF I ELD JD 

KING COLE TRIO CP 

LENNIE TRISTANO KN 

FOUR POCKET ■ 

GEORGE JESSEL ARA 

GENE TUNNEYS HEALTH EXCERCISESVI 
BOOKS 

MUSIC ON R ECORDS . . . HAGG 1 N 

.CATALOGUES 



34 N AUC 

6 N AUC 

8 N AUC 

147 N AUC 

r; sal 

N AUC 

— AUC 



MUS1CA I 92 1 

EOISON |920 

VICTOR 1917 

OKEH I94l^t2 

THESE CATALOGS FOR TRADE ONLY 1 

ON MY "WANT" CATALOGS 

1943 1944 |945 1946 CO — 

FREE BOP CATALOGUE 
BOP CATALOG. ..ROYAL ROOST CONCERTS- 

FREE CATALOGS 

VINYLITE JAZZ REISSUES 

HOT D ISCOGRAPHY 

LIST PRICE $ 6.00 OUR PRICE t 5.00- 

LISTS 

ALL BLESH PROGRAMS AVAILABLE 

SEND FOR FREE LIST 

RECORD SALE NONE OVER } I .00 
LARGE SELECTION ALL NEW, WR I TEM ANY — 

1 000 RECORDS FOR SALE ALL NEW 

1.00 EACH WRITE FOR LIST 

RECORD STOCK ENVELOPES 



TRA 
TRA 
TRA 
TRA 



10" 



BROWN PER 1 00 
I 000 

GREEN PER 100 
I 000 

BROWN PER 50 

GREEN PER 50 



N SAL I .00 
- SAL 



M SAL 2.10 
N SALI9.25 
N SAL 2.20 
N SAL20.00 
N SAL I .40 
N SAL 1.50 



SHIPPING CHARGES COLLECT lO^PACKING CHARGE ON ALL 



KEND 
K END 
KEND 
KEND 
ROSE 
RATK 
RATK 



HOFF 
HOFF 
HOFF 
HOFF 

HOFF 
RATK 

ROSE 

VJR 

ARG 

HI RS 
PARK 

RATK 

KRYS 
KRYS 

GLOB 
GLOB 
GLOB 
GLOB 
GLOB 
GLOB 
GLOB 



WANTE D 



FIRST FOUR LETTERS OF COLLECTOR'S NAME 
FOR ADDRESSES SEE PAGE 



PRICE OFFERED FOR RECORO 



CATALOGUE NUMBER OF RECORD 



1 LABEL OF RECORD 



ALABAMA RED PEPPERS 
R I VERBOAT SHUFFDE E-N 

ARMSTRONG ACCOMPANIMENTS 
HOCIEL THOMA S— OEEP WATER BL N 
CLARA SM I TH— COURTHOUSE BL N 
SHIPWRECKED BL N 
SIPPIE WALLACE-MAIL TRAIN BL N 
SPECIAL DELIVERY 
NOLAN WEL SH— BR I DWELL BL N 
MILLS BROS-NELLY GRAY N 
BLANCHE CALLOWAY— LONESOME LOVE 
CHIPPIE HILL-LOWLAND 8L N 

LONESOME ALL ALONE 
PRATT CITY BL N 
LOVESICK BL N 
MAGGIE JONES-GOOD TIME FLAT N 
BESSIE SMITH-CARELESS LOVE N 

NASHVILLE MAMA 
ST JAMES INF E 
MILDRED BAILEY 




N 



EASY TO LOVE 

CHARLIE BARNET 
GAL FROM JOES/NEW MOON 
HEART ISNT IN IT N 

COUNT BASIE 
|2 ST RAG 

TAXI WAR DANCE N 
BLUES SI NQERS 



OK 8297 DWEN 

CO 14073 DWEN 

CO 14077 DWEN 

OK 8345 DWEN 

OK 8328 DWEN 

OK 8372 DWEN 

DE 1245 DWEN 

OK 8279 OWEN 

OK 8273 DWEN 

OK 833.9 DWEN 

OK 8420 OWEN 

OK 8453 OWEN 

CO 14055 DWNE 

CO 14083 DWEN 

CO 14090 DWEN 

CO 35921 1 .50 PERR 



I Ol 53 1.00 
18601 1.50 



BLUE LOU BARKER-GEORGIA GRIND N OE 

MIDNIGHT BL N DE 

DEEP BL SEA BL N DE 

LEE BROWN-LUCILLE BL N DE 

IDA COX-PINK SLIP BL N VO 

DEEP S EA BL N VO 

ALBERTA HUNTER-FINE MELLOW N DE 

CHIRPIN THE 8L N DE 

SOMEDAY SWEETHEART N DE 

ROSETTA HOWARD— HOG WILD BL N DE 

FRANK I E £ PINT JAXON— LET ME R I OE N DE 

—WHEN THEY PLAY 8L N DE 

LIL JOHNSON— RAMBL I N MAN BL N VO 

HELEN PROCTOR— TAKE ME ALONG N DE 

BESSIE SMITH-AFTER U GONE N CO 

DYIN BY HOUR N CO 

SIPPIE WALLACE/MORNIN DOVE N OK 

BEDROOM BL N OK 

VICTORIA SPIVEY-MOANIN THE BL N BB 

DETROIT MOAN N VO 
GOOD CABBAGE NVO 

GEORGIA WHITE-JAZZIN BABIES BL N OE 

SENSATION BL N OE 

PANAMA LIMITED N OE 
BROWNLEE ORCH OF N.O. 



peculiar/dirty rag n-e 

MERRIT BRUNIES FRIAR SOCIET Y ORCH 
SOMEONE STOLE SWEET BABY N^ 

CALIFORNIA RAMBLERS 
FAREWELL Bl/oELERIUU N-E 

°USS COLUMBO 
MAKE LOVE THE KING/pEACH OF PAIR 

JESSE CRAWFORD 
MANY IN 22000, 24000 SERIES E+ 
NEED AB0UT2O ON VI E+ 

B I NQ CROSBY 
DAY U CAME ALONG/l GUESS E+ 
DREAM OF JEANNIE N 
BR 6|20 6226 6601 DE 100 

BOB CROSBY BOBCATS 
MANY E+ 

PUTNEY DANDR I DGE 
NAGASAKI E 

D IX IE JAZZ BAND 
COFFEE POT BL N-E 
ROSIE CHEEKS N-E 
SOME THESE DAYS N-E 

TOMW DQRSEY 
EAST OF SUN V 
MANY IN 26000 SERIES (sINATRa) E 

EDDIE DUCHIH! 



7588 
7683 
7709 
7775 
5258 
5336 
7633 
7644 
7727 
7658 
7786 
7742 
3331 
7703 
14197 
14273 
8205 
8439 
8619 
3405 ■ 
3639 
7741 
7754 ■ 
7783 • 

40337 ■ 

40593 

401 4 ■ 



ZAWA 
PERR 

■ HAM I 

■ HAM I 

■ DWEN 

■ DWEN 

■ DWEN 

■ DWEN 
• DWEN 

■ DWEN 

■ DWEN 

■ DWEN 

■ DWEN 

■ DWEN 

■ DWEN 

■ OWEN 

■ DWEN 

■ DWEN 

■ DWEN 

■ DWEN 

■ DWEN 

■ DWEN 

■ DWEN 
' DWEN 

■ DWEN 

■ DWEN 
DWEN 

■ DWEN 

■ BUTL 
BUTL 
BUTL 



EVI OTHEPSTOPS G I LB 



VO 3024 3.00 PERR 



828 

883 ■ 
927 



BUTL 
BUTL 
BUTL 

PANG 
JACO 



ROY ELORIDGE SHOTS 
KING OF BONGO BAR FROM 

ARCADIA BALLROOM N.Y. V $ lO PERR 

GEE JAKE WHAT A SNAKE 

FROM E DUECE'5 CHICAGO V — — $ 10 PERR 

DUKE ELLINGTON 
OR 2528 VI 16006-7 VI2443I BR 7627 7752 E+TOPS G I LB 

BR 8|68 8256 VA 586 BR 9331 E+ OTHERS TOPS G I LB 

ANY VO CA RO BD MA BR WHIT 

ETON BOYS 

CLOSE HARMONY ( ALBUM ) N VIP 99 CIAR 

FRANK IE FRANKOS LOU IS lANAfiS 



ME 12009 



SOMEBODY STOLE MY GAL N-E 

GOLDEN GATE "RCH 
VODODOOEO BL N-E 
THIRD RAIL/AINT GOT NOBODY 

BENNY GOODMAN 

25195 , 25320 , 25725 , 25808, 26230, 25880 E+VITOPtSILB 
GOOFUS FIVE 



PE 14837 
ED 52206 



BUTL 



BUTL 
BUTL 



RAMBLIN BL N-E 
YESSIR THATS BABY N-E 
GONNA CHARLESTOWN BACK TO CHI 
POOR PAPA N-E 

LIONEL HAMPTON 



OK 40 1 79 
OK 40423 
N — EOK 40442 
OK 40624 



ANY FROM CHI BAND BOX IN 1946 E ' 

VIBE BOOGIE E ' 

SCREAM IN BOOGIE E ' 

FLY IN ON BINGE E 

ANY ON FOREIGN LABELS EXCEPT HMV N ■ 

COLEMAN HAWKINS 
FOREIGN LABELS ONLY E — ■ 

FLETCHER HENDERSON 
ONE THESE OAYS N-E DO RE ' 

EARL HINES 
SWEET GA BROWN/jAP SAND MAN E-f 

BILLIE HOLIDAY 
DRAGGIN HEART E 
SEND PRICE LIST ANY E 

BLIND LEMON JEFFERSON 

JACK 



BUTL 
BUTL 
BUTL 
BUTL 

HO FM 
HOFM 
HOFM 
HOFM 
HOFM 



DEI 82/654T0PS G I LB 



HAMI 

HAM | HAMI 



DIAMONDS BL E 
SUNSHINE SPECIAL BL E PM 

JELLY JAMES AND HIS FEWSICIANS 



PM 12373 I .75 MCKU 
PM 12593 I .75 MCKU 



GEORGIA BOBO E 

JOHNSONS CRACKERJACKS 
DUCKS YAS YAS YAS N 

LOUISE JOHNSON 



GE 6045 2.25 MCKU 



VI 23329 2.50 MCKU 



EITHER PM E 

KANSAS CITY FIVE 

JAKES WEARY BL N-E 
STAN KENTON 



TRAVEL IN MAN E 

GENE KRUPA 
mutiny/swinc is here e+ 

ART LANDRY 
ALL V OR BETTER 

ALL V OR BETTER 

LEVEE LOUNGERS 



CARR 
CARR 



MELANCHOLY BABY 
TED !£ WIS 



N-E 



E+ 



HA ve di — 



TOPS SMIT 



BUTL 
BUTL 



ALL VOCALS WANTED 

LITTLE RAMBLERS 
DEEP ECM/MELANCHOL Y LOU 

BERT LOWNS LOUNBERS 
JAZZ ME BL N-E 

JIMMY LYTELL 
STOCKHOLM STOMP 
DAVENPORT 8L N-E 

WING IE MAN ONE 
TAR PAPER STOMP V CH 1 6 1 53 

ISLE CAPRI V , VO 2913 

CHARLIE MASONS CREOLE SERENAD ERS 
JUST WANT A DADDY N ED 5 1 224 — BUTL 

LESTER MC FARLAND 
HAND ME DOWN WALKIn/wAS BORN ABOUT E V 05028 I .50 QU I N 

EDDIE MILLER 
I 2 ST RAG N RA I NBOW 

GLENN M I LLER 



WHI T 
WH I T 



700331 I.OQUIN 



JACO 


AND ANGELS S 1 NG/CHESTNUT E+ 


BB 


10201- 


1 .25 


ZAWA 


JACO 


WISTFUL BLUE/ANYTIME ANY DAY E 


DE 


1284- 


3.50 


■ ORL 




GOT RHYTHM/TIME ON HANDS E 


BR 


7915 


4.50 


WORL 


1 .50 ZAWA 


SLEEPY TIME GAl/cOMUNITY SWING 


E BR 


7923 


4.50 


WORL 


CIAR 


FINE FEATHERBD FR 1 ENd/s I LHOUET T 


EBR 


8034 


4.50 


WORL 


WHIT 


SWEET STRANGER/EVERY DAYS A E 


BR 


8041 


4.50 


WORL 




WHY YA MAKE ME/DONT WAKE P E 


BR 


8152 


4.50 


WORL 


P 1 PE 


D IPPERMOUTH/SOLD AMERICAN E 


BR 


8173 


4.50 


WORL 



JELLY ROLL MORTO N 
8201, 10254 

NEW ORDEONS FIVE 
SOME THESE DAYs/mEMPHIS BL 

ROIGINAL MEMPHIS FIVE 
BEALE ST BL/MEMPHIS BL M 

EVA PARKER 
SEND MY PRETTY PAPA E 

SAM PRICE 
JUST JIVIN A ROUND E 



DE 8557 TRA POUL 



THEME 



WHI T 



W ANT E D 



29 



ICE CO GRAGAT I 



ANY E 
IU ON BATTLEFIELD 
JG€ SAUNDERS 



OPENING THEME 

BEN SELV IN 



VALENCI A/BETTY E 

BESSIE SMITH 
CO 3S44 3877 3 1 "7 1 3|73 
CO 14000 14018 I4i33 |4|95 
MANY HAVE DUPS TO TRADE 

SOUTHAMPTON SOCIETY ORCH 
POPLAR ST BU/ 1 2 ST BL N — E 

REX STE1ART 
CANT GET STARTED I 2" N 

TEN E3SEE MUSIC MAKERS 
ANY N 

FATS WALLER 
DONT TRY TO CRY YOUR WAV BACK 

ETHEL WATERS 



I2t- MCKU 

1 262 5.00 MCKU 



BR 3 I 72 I .50 QUIN 

CO WHI T 

CO WHIT 



BLUE STAR 



ANY 



CARDINAL2036 JACO 



AT NEW JUMP STEADY BALL 
TEDDY 1ILS0N 

7520 7550 7554 77S| 7926 7943 7960E1-BR OTHERS* OP SG I LB 
AIR SHOT 



WNEW- SWING SESSION MAY 1947 

ROY ELDRIDGE, MEL TORME, FLIP PHILLIPS 

IN VOCAL SCAT BATTLE V 

ANY ARTIST 



ALL THEME SONGS 

KAROOS 2722 BUSSE 2932 HIMBER 54|8 

BLUE AND BLACK. COL. GIVE ART. AND SER 
CATALOGS 



GENNETT 1920-21 

BRUNS 1931 32 33 — 
vl 1926 32 37 — 
CO 1931 33 — 

LISTS f A'.TED 
SEND N.O. DISPOSITIONS 

FOREIGN COLLECTORS 
SEND. ME TEN JAZZ RECORDS FROM YOUR 
COUNTRY ANO ILL RETURN 10 JAZZ RECORDS 
IN SAME CONDITION 

TIGER RAG 
COOKS SEVEN JAZZ COOKIES 
PHIL BAKER BAND E 
CLEARTONE DANCE ORCH E 
COROES ORCH E 
COTTON PICKERS E 

TRADES 



ORLA 
ORLA 

HOFF 
HOFF 
HOFF 
HOFF 



HERBERT L. CLARK 
CORNET SOLO/CARN I VAL VEN I CE 

CLEVELAND ORCH 
MERRY WIVES/DANCE MACARBRE 
I 8 1 2 OVERTURE 1-2 

COLUMBIA BAND |2" 
CONTI NENTAL M ARC h/d I RECTOR 
MAOELON/LANO OF BEGINNING 
Ml KADO/FLORAOORA SELECTION 
MANY PRINCE OTHERS ON CO 

ALFRED CORTCT 



V 1 


I 6088 


E 


AUC 


2.00 


JACO 




50089 










BR 


50090 


N 


AUC 


— 


POUL 


VI 


(6 |55 


E 


AUC 




MERE 


VI 


6096 


E 


AUC 




MCRE 


V t 


6|58 


E 


AUC 




MCRE 












MCRE 



VI 74636 V AUC 



WITH U6 ANO SWISS COLLECTORS 
NO DODOS DUKE MORTON OLIVER 

WANT LISTS 
SEND ME YOURS 

SEND YOURS HAVE ALL TYPES REASONABLE- 



MAD I 

STANDARD 374 2.50 
PERSONAL I I 35 2.00MAD 
CL |7 2.50 MADI 

GE 2.50 MAD I 

RO 997 2.00 madi 

JACO 



AV RE 
LEVI 



DISPOSITIO N 

(F IRST FOUR LETTERS OF COLl f.CTtin 'S NAME ^^^-^ 
• IFOR ADDRESS, see pace 6. -^^^-^ 



PR l CE 
TRADE , 



FOR sale; VALUE IF FOR 
INIMUM BIO IF FOR AJJCTlQN 



UETHOD OF DISPOSITION: "SAL." 
FOR S*LE AT PRICE INOICATED; 
DA ".FOR TRADE; "iUC", AT 
CT IOM.CLOS ING DATE FOR 6IDS. 
SEE PACE 6. * T-A " FOR TRADE 
OR AUCTION; "T-S" FOR TRADE 
OR SALE; "STA" FOR SALE, TRADE 
OR AUCTION. 



CONOITlON OF RECORD: N-«E* 
E-CXCELLENT ; V-VERV GOOD 

G-oooo; F—fair; p-pqop. 



|CaTalOC NUMBER OF RECORD 



[label of recordT 




1 2 3 4 5 



BESSIE ABBOTT 
FAUST-JEWEL SONG 
EMMA ALBAN I 



OMBRA UA| Fu/AVE MARIA I RCC AUC 

ALBERS ( RARE ) ( |4') 
LE NOYEP.( SC HUM A N )/a UL I ON PATF22I0 V AUC 
LA FAVORITE/FAUST SCENE L EGL PATF2026 V AUC 
MANY RARE PATF WRITE 

AMERICAN QUARTET 
MINSTREL t 18/ON MISSISSIPPI VI 35|43 E AUC 
MANY OTHER OLDIES SEND WANTS 

MAR I ON ANDERSON 
favorita/omio FEMANOS ROYALE 1 763 - AUC 

ENRICO CARISO 
3ICILIANA(CAV RUST) VI e7072 G AUC 

T0SCA/E LUCEVAN LE STELLE PATF E AUC 

HU0UEN0T8 0PERADISC76093 V+ALC 
MANY SEND FOR LIST VI . 



Rl GOLETTO — PARAFTHRA SE 

MELLE DEMOUL I N AND BERTHAUD |4* 
LA PERICHOLE/LA POUPEE PATF 1 626 

CESINA FERRAN I (FIRST MIM ) 
80HEME/MY NAME IS MIMI IRCC 

GERALD I NE JTRRAR 



CARO MIO BEN (BERLIN I 905 ) I RCC 

OTTO GORITZ 
TRUMPETER VON SAC K 1 NGEn/wERNER V I 472 I 2 

R. HUMPHREYS (BELL SO LO) 
WOODEN SHOES (xy SOLOj/ECHO PATB 7|5 

EDWARD JOHNSON 



HER BRIGHT SMILE HAUNTS ME 
VESTA LA JUI BA-PAGLACC I 
MARCEL JOURNET 



v l 64839 V AUC 
VI 64840 V AUC 



KRYS 
KRYS 
KRYS 

MCRE 
MCRE 



' WEND 

• KRYS 
■ KRYS 
KRYS 



LES ROEAUx/hOSANNA VI 6556 V AUC 

FRITZ KREISLER 
largo/andante CANTABLE VI 6l84 V AUC 

GYPSY CAPRICE/SHEPARDS MADRIGALVI 67|2 E AUC 

GIACOMO LAURI-VOLPI 



schiavo/beheme 

JOHN MC CORMACK 
MANY SEND LIST 

MCKEE TRIO 



BR 50073 N AUC 



LARGE LOTS SEND WANTS 
ALSO OT ER INSTRUMENTAL OLDIES- 
NYPO WILLEM MENGELBERG 



V I 74780 - 2 EAUC 



AUC 
AUC 



PAT64006 E AUC 



LES PRELUDED 1-2-3 

GRACE MOORE 
TELL HER IN SPRINGTIME 1923 VI 19613 
ONE NIGHT LOVE 1 934 BR 6994 

LUC I EH MURATOR E 
CARMEn/rOMEO JULIET 

ALICE NIELSEN 
ANNIE laurie/kathleen MAV CO 5245 V AUC 

HOME SWEET HOMe/laST ROSE SUM CO 5283 V AUC 
OLD BLACK JOE/BELIEVE ME I F CO 5678 V AUC 
k ilarny/barney 0 CO 57l| V AUC 

spirit flower/day is done co 57i7 v auc 

note ( in french) 

SANCTA MAR Ia/hOSANNA PAT 62017 E AUC 

NOEL/LA CHARITE PAT62005 E AUC 

TANNHAUSER/ROMANCE OEL ETOILE PATF |2 V+AUC 

PATH r MILITARY BAND ( 1 4") 
STRADILLA/PTS 1-2 PATF 2|6| VAUC 

PHIL ADELPHIA SYMPHONYORCH 

I 6241 V BUC 
V AUC 
6505 V AUC 
65|3 G AUC 
65|4 v auc ■ 



M I LL 
PIKE 

KRYS 

WEND 
WEND 



WEND 
WEND 



POUL 
RATK 



MCRE 
MCRE 



MILL 
Ml LL 




ESPANA RAPSODIE/BACCHANALE 
Fl NLANDI A/ENTRACTE (kHOWANTCH I NA )6366 
DANCE MACABRE 1-2 
MARCH SLAV 1-2 
PRINCE IGOR/lN VILLAGE 

POL PLANCON ( ITALIAN) 
MAOIC FLUTE (mOZARt) " VI 85077 E AUC 

PR IM I ER OPERATIC MAL E (UARTET ( | 4" ) 
CHORUS OF MONKS/ E FOLLOW 



WEND 
WEND 
WEND 
WEND 
WEND 



TANNHAUSER-ODOUC I ETOILE 

MARGARET R MAINE 
LA BOHEME/mIGNOn) 

irene/little OLD ny) 

BEN BOLT/ANNIE LAURIE 
VOICES OF WOODS/SERENADE 
LONESOME/L ITTLE Bl T 

SAMMARCO (BARITONE) |4 " 
carmen/don GIOVANI 

NAT SHILKRET ORCH 
PERSIAN MARKET/CHI NESE GARDEN 
TARANTULA 1-2 

ERNEST I NE SCHUMAN HE INK 
VOM HIMMEL HOCH/STILLE NA r HT 
WHEN ROSES BL 
CRADLE SONG 
TAPS 

JUST BEFORE BATTLE MOHHER 
THE ROSARY 
SILENT NIGHT 
MANY OTHER XMAS NUMBERS 
SOUSAS BANO 



PATF2I 80 

- \ 




AUC 




KRYS 


J 1 


91067 




AUC 




MILL 


CO 


2846 


V 


AUC 




WNEO 


CO 


3373 


V 


AUC 




WEND 


CO 


3487 


V 


AUC 




WEND 


CO 


3846 


V 


AUC 




WEND 


CO 


2847 




AUC 




WEND 


PATB 6 


V 


AUC 




KRYS 


VI 


35777 


E 


AUC 




MCRF 


VI 


35915 


E 


AUC 




MCRE 


VI 


6281 


V 


AUC 




WEND 


VI 


87129 


V 


AUC 




WEND 


VI 


87286 


E 


AUC 




MCRE 


VI 


87299 


E 


A'lC 




MCRE 


VI 


87282 


E 


AUC 




MCRE 


VI 


87221 


E 


AUC 




MCRE 


VI 


88138 


E 


AUC 




MCRE 












MCRE 



UNREQUITED LOVE AND APPLE BLOSSOMV I 35 1 0 1 EA UC MCRE 

CARMEN SELECTI ONs/fRE I TSH OVERV I 35000 E AUC MCRE 

MANY OTHER SOUSA SEND WANTS VI E AUC MCRE 

RICCARDO STRACCIARI 

CO 78686 



DEAR LITTLE BOY 

FRANCESCO TAMAGNO 
OTELLO (VERD I ) 



AUC 



OP D I 78506 V AUC 



LU ISA TETRAZZ IN I 



AH FORS E LU 1 ( TRAV 1 A TA J 


VI 


09293 


V 


AUC 


WEND 


CARO NOME ' R 1 GOLETTO ) 


VI 


08295 


V 


AUC 


WENO 


POLONESE (MIGNON) 


VI 


88296 


v 


AUC 


WEND 


IL DOLCE SUONo(hJCIa) 


VI 


88299 


G 


AUC 


WENO 


SWISS ECHO SONG 


VI 


8831 1 


V 


AUC 


WEND 


CHARMANT OISEAU ( PERLE HRESIL 


Wl 


88318 


V 


AUC 


WENO 


OU VA LAJEUNE (LAKME) 


VI 


92016 




AUC 


WEND 


UNA VOCE POCO (BARBER SEV ) 


VI 


92020 


V 


AUC 


WENO 


LAST ROSE SUMMER/THOSE BRILL 


V ' 


6343 


V 


AUC 


WEND 


SWISS ECHO SONG 


VI 


ee3i 1 


E 


■uc 


MCRE 



VI 


35213 


G 


AUC 


MCRE 


VI 


35233 


E 


AUC 


MC"RE 


VI 


35260 


E 


AUC 


MCRE 



CONRAD THIBAULT 
ONLY PAPER MOON/THIS is ROMANCVI 24424 - AUC 

VICTOR MINSTREL CO 
ARKANSAs/lOUI S I ANA 
MISS ISS I PPI /OOWN ON LEVEE 
KENTUCKY MIN/DOWN ON FARM 

VICTOR MIXED CHORUS 
SONG OF IRELAND/SCOTLAND 
SONG OF PAST 1-2 
SONGS OF PAST 13-14 

V ICTOR OPERA CO. 
R I GOLETTO 4/LUCIA SESTETTE 

REINALD WERRENRATH 



DANNY DEEVER/ROAD MANADALY 
DANNY DEEVER/ROAD MANDALAY 
(TANNHAUSER)/2 GRENADIERS 
goodbye/oft IN STILL NIGHT 
(carmen )/(pagl I ACCI ) 
(faust)/(bohemian girl) 

efrem ZIMBALIST 
burleska/persi an song 
salut d amour/serenade 
souvenir/spring song 

CLASSICAL RECORDS 
MANY SEND ME YOUR W ANT LIST 

LISTS 



VI 


35513 


E 


AUC 




MCRE 


VI 


35537 


E 


AUC 




MCRE 


VI 


35550 


AUC E 




MCRE 


VI 


55066 


E 


AUC 




MCRE 


VI 


6360 


G 


AUC 




WEND 


VI 


6638 


V 


AUC 




WEND 


VI 


6563 


V 


AUC 




WEND 


VI 


55065 


V 


AUC 




WEND 


VI 


55068 


V 


AUC 




WEND 


VI 


55079 


V 


AUC 




WEND 


CO 


2 1 91 


G 


AUC 




WEND 


VI 


890 


V 


AUC 




WENO 


VI 


892 


V 


AUC 




WEND 



SEND FOR MY LIST 



KRYS 
HUE 



FOR QUICK SALE 



FOR QUICK SALE 



ROBERT L. THOMPSON 
106 W. 105 ST., NYC 25, NY 
CONDITION GUARANTEED . 25# PACKING CHARGE ON ALL ORD 
ERS. RECORDS SHIPPED PP INS. YOU PREPAY POSTAGE. 
GLENN MILLER 



DEL I LA h/elMERS TUNE 
BUGLE CALL RAG/sLOW FREIGHT 
LAMPLIGHTERS SERENADe/dONT SIT UNDER 

BING CROSBY 
ROB INS RO SES/REST END TRAIL 

WASHBOARD WONDERS 
BREEZE/LETS INCORPORATE 

RED NICHOLS FIVE PENNIES 
SHE SHALL HAVE MUSIC/LET ME DREAM 

GENE KRUPA 
DRUMMER BUY/LOOKING FOR YESTERDAY 

SAMMY PRICE TEXAS BLU5I C I ANS 
HA RL EM GIN BL/wHY DONT U LOVE ME 

HOAGY CARMICHAEL 
VINE ST PARADE/NO MORE TOU JOUR LAMOUR ARA 1 06 V .49 

JOSH WH ITE 

BACKWATER BLUEs/jELLY JELLY DE 23582 V+.59 

CLYDE MCCOY 



BB I I 274 V+.69 

BB 10740 V-I-.69 

BB I 1 474 V+.69 

DE 79 1 V+.69 

BB 676l E .69 

B8 10683 E+.69 

OK 5747 V .69 

DE 8609V/N.79 



DE 25014 E-.39 



SUGAR Bl/fOUND NEW BABY 
WILL BRADLEY 

SQUARE BUT ROCKs/pRA I R I ELA ND LULLABE CO 360|4 E-.49 

WHEN U AND I YOUNG MAGGI e/m I SUNDERSTOOD CO 36 1 82 V .49 
HALL MOUNTAIN KING/LAND SKY BL WATER CO 36286 V .49 

CALL ME TAXl/SHADOWS IN NIGHT CO 36082 V+.49 

CELERY STALKS/DOWN ROAD A PIECE CO 35707 V .49 

ALL THAT MEAT NO POTATO/GET THEE BEHIND CO 36248 V .49 

ART I E SHAW 
BEGIN BEGU I NE/l NDI AN LOVE CALL 
MARINELA/l COVER WATERFRONT 
DANCINQ IN DARK/SMOKE IN EYES 

JIMMY LUNCEFORD 
24 ROBlERs/l HAD PREMONITION 

JAN SAV I TT 
720 IN BOOKS/RANCHO GRANDE 

WOODY HERMAN 
FRENESl/sONG OLD HAWA I I 

JIMMY DORSEY 
HEP Tl HOOT IE/DOLOMITE 

BENNY GOODMAN 
ONE SWEET LETTER FROM U/SCA TTERBRA IN 

CHICK BULLOCK 

FARE THEE WELL ANNABELLE/u Fl W INTO PIC PE 16065 V+.59 
RUBBER LEGS WILLIAMS ACC HERB IE FIELDS ORCH 

POINTLESS MAMA Bl/thaTS THE STUFF SAV 564 V+.49 

EDDIE CANTOR 

MAKIN WHOOPEE/jOSEPHI NE NO LEAN PA 44V+.69 

BOB CAUSER CORNELL I ANS 
EVERY MINUTE OF HOUR/WELCOME STR ME 605050E .59 

JO 'NNY JONSOM 

L IGHTS OUT/TOO MUCH IMAGINATION OA 60303 V .49 

GENE KARDOS 

LOVE LOCKEO OUt/|N OTHER WORDS WE THRU PE 15882 E .49 



SB 


7746 


V 


.49 


VI 


27362 


V 


.49 


VI 


27335 


V 


.49 


DE 


3718 


E 


.79 


DE 


2771 


E- 


-.69 


DE 


3427 


V 


.39 


DE 


33 1 2 


V 


.39 


CO 


35241 


V 


.39 



30 



SALE 








J. E. WARNER 






SALE 












425 RIVERSIDE DRIVE, NEW YORK 25, M.Y. 














ALL RECORDS IN MINT TO V CONDITION. 


DO NOT SEND MONEY WITH YOUR ORDERS. RECORDS SHIPPED VIA PARCEL POST INSURED. YOU MUST PAY POSTAGE 




AND 25«! PACKING CHARGE ON ALL 


ORDERS. 


YOU 


WILL BE NOTIFIED OF WHAT YOU HAVE WDN 


AND THEN YOU WILL REMIT THE AMOUNT DUE . UPON OUR 


RECE 1 PT 


OF YOUR CHECK OR MONEY ORDER 


WE 


WILL SHIP. 


00 NOT SUBMIT ALL OR NOTHING ORDERS. 


THEY 


WILL 


NOT BE HONORED . NO MINIMUM ORDERS. 


SAT ISFACT ION 


GUARANTEED OR YOUR MONEY WILL BE 


REFUNDED. 


THE RECORDS ARE GREATLY UNOERPR ICED AND WE 


HAVE SEVERAL COPIES OF MANY. THIS IS AM 


E NT 1 RELY 




NEW BATCH OF RECORDS THAN THOSE 


ADVERT ISED 


IN THE NOVEMBER ISSUE. PRACTICALLY ALL OF 


THOSE 


#ERE SOLD. IF YOU FAILED TO GET THE RECORD 




YOU WANTED IN THE LAST SALE TRY 


AGA IN. 


















30Y ACUFF 








BARNET CONT 1 NUED 






BLUE BARRON 








FARTHER ALONG/WEARY RIVER 


OK 


5706 


.59 


THIS IS NO DREAM/THATS RIGHT BB 


10273 


.79 


DOWN L^GER LOU ER L A NE/GRA TEFUL 


BB 


10230 


.69 


DON ALBERT ORCH 








MOON CRYING/l HEAR RHAPSODY BB 


10934 


.79 


U TAUGHT ME TO LOVE/GIRL BEHIND 


BB 


10284 


.69 


DEEP BL MELODy/suNNY SIDE STREETVO 


3423 


.79 


BLUES IN NIGHT/lSLE PINES BB 


1 i?27 


.79 


BLUE SKY BOYS 








VAN ALEXANDER 








CANT REMEMBER FORGEt/sCRUB ME M A MA BB 


10975 


.e9 


THERES NO LOVE FOR ME/GOD SENT 


BB 


8339 


.59 


ANOTHER NIGHT ALONE/MOON M A N 1 CURAB8 1 0 1 97 


.59 


LOVERS tULLA BYe/u G9T ME BOODOO BB 


10662 


.79 


BOGAIIS BIRMINGHAM BUSTERS 








NO STAR LOST/l CRIED FOR YOU 


BB 


1 0 1 "9 


.59 


MUST BEEN TWO OTHER/rANGER IN DARKBB 


10336 


.79 


CHINA BOY/SHEIK ARA6Y 


VO 


3570 


1 .29 


GUS ARNHEIM/ALL STAR ORCH 








DICK BARRIE ORCH 






JAMES BOLTON 








LIVABLE SWEET/MY DREAW MEWORY 


VI- 


22054 


.89 


LOVE DOESNT GROW ON TREES/LET BE VO 


4409 


.59 


8LUE WATERS/CARAL INA MOON 


CA 


3569 


.59 


JULES ALLEN 








THA T iENTIMENTAL SA NOW 1 CH/STR ANGE VO 


4787 


.69 


BON BON BUDD IES 








DAYS OF 49/hOME ON RANGE 


VI 


21627 


.79 


COUNT BASIE 






ALL MEAT NO POTTo/BLOW GABRIEL 


DE 


856.7 


.59 


AMBROSE 








BLUES 1 LOVE TO HEAR/blame IT ON DE 


2284 


.79 


BOONES JUMPING JACKS 








IM IN OANCING MOOD/CRAZY LOVE 


DE 


971 


.79 


HEY LAWDY MAMA/THE FIVES OE 


2722 


.79 


IM FOR IT/TAKE ME BACK 


DE 


8590 


.79 


WHEN 1 DREAM HOME/LOVE U TOO 


DE 


3470 


.79 


RED WAGON/DUPREE BL DE 


3071 


.79 


IRENE BORDONI 








WAR DANCE WOODEN/MAN ABOUT TOWN 


DE 


3l26 


.79 


WHEN SUN GOES DOWN/DIRTY DOZEN DE 


2498 


.99 


THAT MEANS NOTHING TO Me/do 1 LOVEV 1 


19966 


1 .29 


AMER IC AN LEG 1 CN BAND 








SENT FOR U YESTERDAY/SWIMGIN BL DE 


1880 


.69 


SO THIS IS LOVE/' WONT SAY 1 WILL 


VI 


1 9 1 99 


1 .29 


GENERAL PERSHING MARCh/paPADE 


DE 


1858 


.79 


FARE THEE HONEY/OH RED DE 


2780 


.79 


B001 S /'Mi BUDD IF:, 








AMER IC AT QUARTET 








TOPSY/DONT U MISS BA8Y DE 


1 770 


.79 


RAGGLE TACGLE/6L AVALON 


BB 


71 8^ 


.99 


NELLY KELLY 1 LOVE 


V 1 


18957 


.59 


BLUES IN DARK/GEORG 1 ANA OE 


1682 


1 .09 


WHEN TIME COMES/HAUNTING MEMORIES 


BB 


6880 


.99 


L 1 L ARMSTRONG 








HOW LONG BL/BOOG WOOG DE 


2355 


.79 


CONNIE 80SWELL 








KNOCKIN AT CABIN/SIT DOWN STRIKEDE 


1272 


.69 


BL SHADOWS WHITE GAPOENIAS/aY NOW OK 


6626 


.79 


SILENT LOVE/STRING PEARLS 


DE 


4|63 


.79 


LOUIS ARMSTRONG 








super chief/u cant run ok 


5673 


. 7 9 


JOHNNY DOUGHBOY FOUND ROSE/SWEET 


DE 


431 1 


.79 


ME AND BROTHER B 1 LL/'SAVOY BL 


DE 


2538 


1 .49 


MISS THING 1-2 VO 


4860 


1 .29 


CHRIS BOUCHILLON 








*EST END BL/lF ITS GOOD 


DE 


2480 


1 .49 


YPU AND YOUR LOVe/u CAN COUNT ON VO 


4967 


.89 


THE MEDICINE SHOw/BORN HARD L'ICK 


CO 


|5|5| 


1 .29 


HONEY DO/HONEY DONT U LOVE 


80 


7787 


1 .49 


MOONLIGHT SERENADE/l CANT BELIEVE VO 


5036 


.89 


AL BOWLLY ORCH 








FRED ATTA IRE / JOHNNY GREEN 






SONG islands/nobody KNOWS VO 


5169 


.69 


HALF MOON HUDSON/SWEET SONG 


BB 


73|7 


.79 


fine romance/waltz in swing 


BR 


77i e 


1.19 


AND ANGELS SING/lF 1 DIONT CARE VO 


4784 


.89 


BOYCES hARLEM S ERENADERS 








BOB ATCt-'ER & BONNIE BLUE EYES 




ROCKABY BASIe/b.ABY DONT TELL ON MEVO 


4747 


.89 


HARLEM AFTER M 1 DN 1 GH T/GOOO HOME T0WNDE8602 


.99 


CRYING SELF TO SLEEP/u ARE SUN 


vo 


5370 


.59 


WHAT COMES UP _MUST/oONT WORRY BOUTVO 


4734 


.89 


BILL BOYD COWBOY RAMBLERS 








WILL U BE TPUE/THERELL BE DAY 


OK 


6453 


.59 


WHATS NUMBER/DRAFT IN BL OK 


5897 


.79 


NEW 6-7 times/fan IT 


BB 


7128 


.79 


GENE AUTRY 








ALL OR NOTHIN/MOON FELL IN RIVER OK 


5884 


.79 


WILL BRADLEY 








GOODBYE LITTLE DARLIn/wHEN IM 


VO 


5463 


.99 


WORLD IS MAO 1-2 OK 


5816 


• e9 


SPEAKING HEAVEN/THOUGHT BOUT U 


VO 


5|82 


.79 


MITCHELL AYRES 








KING JOE 1-2 ( ROBESON) OK 


6475 


.99 


CELERY STALKS M 1 DNI GHT/DOWN RD 


CO 


36958 


.79 


PIGGY BANK/AINT IT SHAME 


BP 


ioei6 


.59 


THE KING/BLUE SKIES CO 


37070 


.79 


CELERY STALKS M 1 DN 1 GHT/DOWN RD 


CO 


35707 


.89 


MAKE IT OLD FASH 1 ONED/wELL MEET 


BB 


10940 


.59 


CHARLES BAUM ORCH 






SCRAMBLE TWO/ROCKABYE BOOGIE 


CO 


35732 


.79 


BABS ANO HE r ' BROTHERS 








IN THE MRNING NO/DO 1 LOVE U RY 


1 800 


.69 


THERE 1 GO/SCRUB ME MAMA' 


CO 


35743 


.79 


YOUR SO CHARMING/DOUBLE TROUBLE 


DE 


51 6 


.69 


W 1 LLY BEE 






THREE RING RAGOUT/SOULD HAVE KNOW 


•CO 


35871 


.79 


MILDRED EA I LEY 








RAMBLIN MIND Bl/cANT CONTROL MIND VO 


3907 


1 .09 


SLEEPY TIME GAL/wHO CAN 1 TURN TO 


CO 


36470 


.89 


STONES THROW/BOB WHITE 


VO 


37|2 


1 .29 


BEE GEE TAVERN BAND 






DONT LET JUL 1 A FOOL/.JACK JILL 


CO 


36372 


.79 


CANT FACE MUSIc/oONT BE THAT WAYVO 


4016 


1 .29 


1 TOO MANY/BROKEN PRETZEL VO 


15987 


.59 


CLEO BR n WN (hair cracks) 








1 LET SONG GO OUT HEART/ROCK IT 


VO 


4083 


1 .29 


BEER BARREL POLKA/wHAT WILL U HAVEVO 


15985 


.59 


GIVE BROKEN HEART BREAK /ME AND WONDE 


486 


.69 


SMALL FRY/BORN TO SWING 


VO 


4224 


1 .09 


SWING DOINA/BOCK BEER VO 


1 5988 


.59 


GABRIEL BROWN 








SO HELP M_e/aS LONG AS U LIVE 


VO 


4253 


1 .29 


WE ARE ON RELIEF/kOLO VO 


1 5990 


.59 


1 GET EVIL/u AIN'T NO GOOD 


GE 


5003 


.59 


LOVE WHERE U FIND IT/cOLOR BLINDVO 


4345 


1 .29 


HOT dog/continental WALTZ VO 


15991 


.59 


LES BROWN 








WHAT HAVE U THAT/MY REVERIE 


VO 


4406 


1 .29 


TOMBSTONE POLKA/WPA POLKA VO 


15992 


.59 


WALKIN SWINGIN/LOVE 


DE 


3167 


.89 


SLUMBER TIME SWANEe/taINT WHAT 


VO 


4708 


1 .29 


A LL ABOARD/MY PASSPORT VO 


15993 


.59 


LEE BROWN 








DOWNHEARTED BL/GULF COAST BL 


VO 


4800 


1 .39 


BUN-NY BERIGAN 






MOAN 1 N DOVE/NEW LITTLE GIRL 


DE 


7575 


.69 


BARRELHOUSE MUSIC/u OONT KNOW 


VO 


4802 


I .29 


MOTHER GOOSE/FRANK 1 E JOHNNY VI 


25f 16 


.99 


LES BROWN 








LAMP IS LOW/TIT WILLOW 


VO 


4845 


1 .29 


THERELL BE CHANGES MADE/jAZZ ME VI 


26244 


.99 


FROM NOW ON/GET OUT TOWN 


BB 


10009 


.89 


LITTLE MAN WftSNT THERE/BACK HOMEVO 


4966 


1 .29 


SWEET VARSITY SUE/wHY TALK LOVE VI 


25667 


1 .29 


WHAT COMES UP MUST/DONT WORRY ME 


BB 


i o i e i 


.89 


U AND YOUR LOVE/MOMENT IN LIFE 


VO 


5006 


1 .29 


HAVE U EVER BEEN HEAVEn/mAMA 1 WANTVI25677 


1 .29 


CLIFF BRUNER 








GEORG 1 & ON MIND /AFRAID SELF 


DE 


3691 


.89 


ROCKIN ROLLERS JUB 1 L EE/BUTT ON BUT VI 


26077 


1 .49 


10 PRETTY GIRLS/SPARKLING BL EYES 


DE 


5824 


.59 


KENNY BAKER 








STUOY IN BROWN/CA RAVAN VI 


25653 


.99 


CHICK BULLOCK 








U AND YOUR KISS/THERE 1 00 


VI 


27207 


.79 


BEN BERN IE 






POLKA DOTS M 0 0N8E AM S /SHAKE DOWN STRSV05472 


.79 


PH IL BAKER 








WHOS S RRY NOW/WILOFLOWER (MINT) VO 


14555 


1 .49 


BUMBLE BEE SLIM 








AT THE THEATRE 1-2 


VI 


20970 


1.09 


SONG METRONOME/lM SORRY FOR SELF VO 


4916 


.99 


IM NEEDING SOMEONE/ROUGH TREATMENTVO 


3637 


.69 


BAMA BOYS 








IM TAKIN TIME WITH u/nO MAMA VO 


5087 


.99 


U LOOK GOOD TO ME/jUST YESTERDAY 


VO 


3698 


.69 


PLEASE BE KIND/MOMENTS LIKE TH 


BB 


4794 


.59 


GOODNIGHT BEAUTIFUL/TOMORROW N1GHTV0 


5072 


.99 


HENRY BUSSE 








BARBECUE BOB 








DUKE ON BAT AGAIn/aINT THAT MARVEL CO 


2809 


1.19 


HOT LIPS/WANG WANG L 


DE 


1 98 


.69 


MAMA YOU DONT SUIT Me/m|SS. BL 


CO 


14222 


1 .29 


WE WONT HAVE SELL FARm/mARCHIN AL0NGC02604 


.99 


WHEN DAY IS DONE/ON ALAMO 


DE 


774 


.79 


JIMMY BARBER 








FRANK BESS 1 N'QER 






ALLS FAIR LOVE WAr/pLENTY MONEY 


DE 


1076 


.69 


THIS SIDE HEAVEN / JUST GOLDEN DR 


BB 


10167 


.59 


PAL 1 LOVE STOLE GAL/END SUNSET BR 


2740 


.69 


GONNA LOCK HEART/FIGARO 


DE 


1924 


.69 


BLUE LU BARKER (DANNY BARKER 


FLYCATS) 


FRANK BLACK ORCH 






HOW ABOUT IT/ONE STEP HEAVEN 


VI 


21674 


.99 


DONT MAKE ME HIGh/hE CAUGHT B & 


DE 


7506 


1.49 


TWO OF US/OONT BE ANGRY BR 


3338 


.89 


SWEETHEARTS HOL . DAy/pEAUT 1 FUL 


VI 


22086 


.89 


JOHNNY BARF 1 ELD 








BIG BILL 






BY THE WAY/SAT 1 SF I EO 


VI 


221 16 


.69 


NEW BOOGIE WOOG/LITTLE SHIRT 


BB 


8506 


.59 


HIT RIGHT LICK/wERRY GO ROUND BL OK 


5869 


.e9 


1 CAME to u/your RESPONSIBLE 


VI 


22145 


.59 


CHARLIE BARNET 








TRUCK 1 N WOK.An/why DID U DO THAT VO 


4205 


.79 


ERSK INE BUTTERF IELD 








1 WNT you/im no angel (RARE) 


DO 


155 


1.49 


WHEN U SAID GOODBYE/iM THRU WITH UOK 


6|75 


.89 


WHATCHA KNOW JOe/bEALE ST MAMA 


DE 


8510 


.69 


LILACS IN RAIN/GIRL PIGTAILS 


B B 


IC439 


.79 


BLACK CATS AND K ITTEN 






DEVIL SAT DOWN CRIEd/bOOG CONCERTODE 


8600 


.69 


WHERE WAS l/DEED 1 DO 


BB 


10669 


.79 


STEP UP GO/BOOG WOOG DADDY OK 


5882 


.69 


FOOGEE/U SHOULD LIVE SO LONG 


DE 


8569 


.69 


JUMP SESSION/SWING STREET STRUT 


BB 


10172 


.99 


EUBIE BLAKE SHUFFLE ALONG ORCH 






MONEY GREW TREES/MAUA LONG TALL 


DE 


8596 


.69 


U ANO WHO ELSE/WHEN SPIRIT MOVESBB 


10734 


.79 


bandana days/im JUST w ild/balt IMOREV 1 1 8791 


.59 


BOBBY BYRNE 








POMPTON TURNPIKE/l OONT WANT TO 


BP. 


10825 


.79 


RAY BLOCH 






2 HEARTS PASS NIGHT/THESE THINGS 


DE 


3774 


.59 


MIDWEEK FUNCTION/l NEVER KNEW 


BB 


10285 


.89 


BL HAWAIl/HULA HEAVEN VR 


528 


.79 


CAB CALLOWAY 








spos i n/asleep AWAKE 


BB 


10206 


.79 








EVERY DAY HOL 1 D A y/jUB 1 L EE 


VO 


3896 


.99 



31 



SALE 






J. E. WARNER 










SALE 


CAB CALLOWAY CONTINUED 






CLIFF AND RAY 








B IN3 CROSBY CONT INUED 








IN OLD ENGLISH V I LLAGE/ERfi OR NEWSVC 


39 1 2 


• 99 


rustic schoot I sche/rocky mt 


VO 


4204 


59 


AH SWEET MYSTERY L 1 Fe/swEETHEARTS 


DE 


231 5 


.99 


LIKE MUSIC HOT/3 SWINGS OUT VO 


3995 


.99 


LARRY CL INTON 








FALLING IN LO»e/gyP_SY LOVE 


DE 


23 16 


.69 


FOOL IN WITH j/BJGLE OLUES VO 


40 1 9 1 


• I 9 


FEEL 1 N LIKE DREAM/GREATEST MISTAKE8B 




89 


Sast side heaven/sing SONG SUN 


DE 


2359 


.89 


peck a doodle/azure VO 


4 1 00 


■ 99 


FORGOT ABOUT ME/MOONLIGHT TEARS 


65 


10984 


99 


DEEP PURPLE/STARDUST 


DE 


2374 


.89 


shout shout shout/paga N I N 1 VO 


Ian-, 


99 


FALL IN LOVE EVERY DAy/hOW DO U LIVI 


25775 


• 89 


STAR SPANGLED BANNER/GOD BLESS AMER 1 CA2400 


.79 


BOOGIE WOOGI e/hALLELUJAH BROWN VO 






CLUB ROYAL ORCH 








sposin/and angels sing 


DE 


24| 3 


.79 


SUNNY SIDE EVERYTH 1 NG/CONGO CONGVO 




99 


GEORGETTE/WHOLL TAKE MY PLACE 


VI 


1 891 9 


59 


WHISTLIN WILDWOOD/lF 1 HAD MY WAY 


DE 


2448 


.79 


CLAV.8AKE CARN 1 VAl/j 1 VE VO 




a 99 


JOLLY CO URN ORCH 








IDA SWEET APPLE/EL RANCHO GRANDE 


DE 


2494 


..59 


APRIL IN HEflRT/DO YOU WANNA JUMPVO 


4477 




AM 1 DREAM ING/NY CASTLES 


BD 


708 1 


59 


MUST BE TRUE/l SURRfiNDER DEAR 


OE 


2535 


.99 


FOR JONES/a' 'GELS DIRTY FACES VO 




99 


KING COLE TRIO 








APPLE TEACHER/STILL BB SING 


DE 


2640 


.89 


dee p in dreau/mafjly IN LOVE VO 


45 1 I 


• 99 


LOST APRIL/NATURE BOY 


CP 


1 5054 


49 


GIRL OREAMs/wHATS NEW 


DE 


2671 


.79 


rata:jiacue/ao de oey vo 




99 


EM 1 L COLEMAN ORCH 








WELL REST END TRAIL/GOLD MINE SKY 


DE 


26 78 


.79 


MINNIE MOOCHER/iT LOUIS BL VO 


4753 


99 


STOLEN KISSES/BRING BACK BLUSHING 


VI 


1 9797 


.59 


old cowhand/little 3UCKAR00 


DE 


2679 


.59 


NEW MOON OLD SEHEn/| LOOK YOU VO 


4767 


99 


LET EM EAT CAKE/mINE 


CO 


2831 


.59 


WHEN YOUR AWAY/THINE ALONE 


DE 


2680 


.89 


F°LOOG i E WALK/GHOST SMOKEY JOE VO 


4807 


■ 99 


WHEN SHIP COMES In/eARFUL MUSIC 


CO 


296 1 


.59 


GUS ARNHEIM MEDLEY/MERRY OLDS 


DE 


2700 


.89 


jjmpin jive/trilon SWING VO 






FORGET ME NOT/ONLY U 


VO 


1 4833 


59 


ISLE GOLDEN D REAMS/TO U SWEETHEARTDE 


2775 


.89 


GETTI I NOWHERE F AST/j 1 VEFORM A T 1 OVO 


5 1 95 


99 


georgette/wholl TAKE MY PLACE 


VO 


1 4386 


.59 


YODEL 1 N J 1 VE/CI R 1 B 1R IB 1 N 


DE 


2800 


.89 


HI DE HO MIRACLE MAn/fRISCO FLO BR 


7756 


. 1 9 


LINGER AWHILE/ONLY GIRL 


VO 


1 47 1 2 


.59 


|8TH I9TH CHESTNJT/WRAP TROUBLES 


DE 


2948 


.39 


" - Me - ~ i Afurt euro 






tia juana/in LITTLE RENHEZVOUS 


V 0 


1 4897 


• 59 


MOON W LLOW TREE/TOO ROMANTIC 


DE 


2998 


1.29 


LAZY MISS^ROSE VIRGINIA CO 


?9Q9 


59 


WALTER COLEMAN 








JUST ONE MORE CHANCE/sWEET POT ATO 


DE 


2999 


.89 


VACANT CHAIR AT HOME/jN HEAVEN :0 


29 78 


.59 


MAMA LET ME LAY/SMACK THAT THING 


DE 


7l 57 


.49 


SINGING HILLS/DEVIL MAY CARE 


DE 


3064 


.89 


OR 1 FT 1 NG ALONG/ON MIAMI SHORE CO 


3302 


59 


CONONIAL CLUB ORCH 








GIRL WITH PIGTA 1 LS/OREAM OF JEANN 


DE 


3098 


1 .29 


FLOYD CAMPBELL GANGBUSTERS 






1 DRAE NOT LOVE u/rD OF DREAMS 


BR 


3034 


• 59 


MA RCH 1 Ta/s 1 ERR A SUE 


DE 


3133 


.89 


WHAT DO U WANT/BLOW BL AWAY BB 


10852 


69 


AS LONG AS 1 HAVE u/DREAM OF U 


SR 


32 1 0 


• 59 


MEET SUN HALF WAy/pESS 1 M 1 ST 1 C CH 


DE 


3 162 


.89 


EDDIE CANTOR 






SCHOOL DAYS SWEETHEART/GIVE ME 


BR 


32 |2 


• 59 


mr meadowlark/on behalf visiting 


DE 


3182 


1 .49 


HUNGRY FOR BEAUTIFUL GIRLS/l LOVEC03624 


• 59 


hushabye/lay my head beneath 


BR 


3227 


-.59 


TRADE WINDS/SONG OLD HAWAII 


DC 


3299 


.59 


THE CAPITOLIA'IS 






my pal jerry/too late sorry 


BR 


3244- 


.59 


waltz j saved/where bl of night(chde 


3354 


.59 


NOBOOY BUT u/YOJR MOTHER AND Ml MGM 


1033 


• 69 


wouldja/aint we carryin on 


BR 


3280 


• 59 


u MADE ME LOVE u/THINK OF ME 


DE 


3423 


.79 


FRA'.KlE CARLE 


5|55 




new moon/kiss me 


BR 


33 1 5 


5 g 


DO U KNOW WHY/jUST LIKE LOVE 


DE 


3445 


1.49 


CHICO S LOVE SONG/WHOLE NEW TH VO 


.79 


all alone monday/will u wont u 


BR 


3380 


• 59 


LONESOME RD/ONE ROSE 


DE 


354| 


.89 


SOMEBODY LOVES UE/l KNOW J KNOW CO 


36331 


.69 


if i had u/avalon town 


BR 


4|89 


99 


BL SERENADE/SPOS IN 


DE 


3543 


.99 


barcarole/prelude Cf MINOR CO 


35573 


.69 


JERRY COLONA 








LONE STAR TRA I l/n 1 GHT 1 NGALE SANG 


DE 


3584 


.99 


H0A3Y CARM ICHAEL 






hector/your my everything 


VO 


3876 


• 99 


MAKES NO DIFFERENCE N0*/nEW SAN 


DE 


3590XXKXX 


OR LAWYER INDIAN CHIEf/aM 1 BL ARA 


128 


.59 


remember dad/lolita 


CO 


36092 


• 89 


YOUR DANGEROUs/BI RDS OF FEATHER 


DE 


3637 


.39 


NITA CARROLL AND ALLAN HOLT ( 


= IANOS) 


EDDIE CONDON ORCH 








TEA FOR TWO/YES 1 NDEED (mUGGSY ) 


D E 


3689 


• 89 


SUNDAY IN PARK/BIG UNION FOR 2 98 


-!| 


.59 


WHEREVER THERES LOVE/WHEN LOVER GONEDE23393 


.79 


ONLY WNT BUDDY/ONLY WANT BUDDY 


DE 


3736 


.69 


BENNY CARTER ORCH 






ZEZ COUFREY 








PARADISE ISLE/ALOHA KUU 1 PO ALOHA 


DE 


3797 


.89 


MELANCHOLY LULLABYE/PLYMOUTH RO VO 


4984 


.99 


KITTEN ON KEYS/p 1 CKE E UP LAY ME 


VI 


18900 


• 59 


bra;ws lullabye/u and i 


DE 


3840 


89 


SAVOY STAMPEDE/SCANDAL IN A FLATVJ 


5| 12 


.99 


PLAYING FAIR/THE SNEAK 


V 1 


18921 


• 59 


TIL REVEILLE/OLD KENTUCKY 


DE 


3886 


,89 


among souvenirs/fish FRY VO 


5458 


.99 


STRUTTIN STRUTTERS BALl/fRENCH 


VI 


18932 


69 


RIOIN DOWN CANYON/u ARE SUNSHINE 


DE 


3952 




POM pom/serenade SARONG DE 


3262 


.39 


ALL MUDDLED Up/TRUE BL SAM 


V 1 


18973 


• 59 


CLEMENT 1 NE/daYDREAM 1 NG 


DE 


4033 


• 89 


VERY THOUGHT OF u/ALL OF ME BB 


10962 


.89 


GONNA PLANT MYSELf/swaNEE SMILES 


V 1 


18981 


• 59 


HUMPTY DUMPTY HEART/DO U CARE 


DE 


4064 


.89 


CUDDLE UP HA'JDDLE/» H AT 0 1 FFERENCBB 


1 1 197 


.79 


NEW HAMPSHI RE/MARCH ITA 


V 1 


19046 


59 


ANNIVERSARY WAL T z/sHEPA RDS SER 


DE 


4065 


.89 


midnite/favorite BLUES BB 


1 1288 


.99 


IRVING KAHN ORCH 








DEAR LITTLE BOY MINE/OH HOW MISS 


DE 


4152 


.89 


KING CARTER ROYAL ORCH 






STILL OO/PRIZE WALTZ 


ME 


13079 


.59 


LETS ALL MEET MY HOUSE/DEEP HEART 


DE 


4162 


.89 


LO* DOWN BAYOU/CANT GET ALONG CO 


2638 


.99 


B ILL COX & CL IFF HOBBS 








SING ONG ISLANDS/REMEMBER HAWAII 


DE 


4173 


.49 


CASEY BILL 






CREPE on door/heartbroken prisonervj 


41 48 


79 


skylark/bl SHAOOWS 


DE 


4193 


.89 


WORRIED ABOUT WOMAn/rEO HOT BL VO 


4066 


,.59 


HOBOS LJLLAB YE /ELECTRIC CHAIR 3L 


VO 


4929 


79 


lamplighter/mandy is too 


DE 


4249 


.89 


SOLD SOUL DEVIL/BEEN TRICKED VO 


3561 


.59 


XAVIER CUGAT WALDORF ASTORIA ORCH 




DRIFTING BACK TO BREAm/s I NG 1 NG S 


DE 


4339 


.89 


CASTLEWOOD MARIM3A BAND 






ISLE CAPRl/vOUS QU AVEZ VOUS FAIT 


VI 


2481 3 


• 69 


OLO OAKEN BUCKET/CONCH 1 TA MARC . 


DE 


4343 


.89 


MEXICALI ROSE/l MISS \'OU MOST BR 


2649 


.59 


SUNNY SAN DOMINGO/TU VOLVERAS 


VI 


26501 


59 


BOY IN KAHKI /HELLO MOM 


DE 


4367 


.69 


B08 CAUSER CORNELIANS 






nueva conga/rumba RUMBERO 


V 1 


26661 


.69 


BOB CROSBY 








DINNER AT 8/GIVE ME L 1 BERT Y ( RAREDO 


142 


.59 


tunara/chi nco hi jos 


VI 


26697 


69 


H 1 N DUST AN/MOURN 1 N BLUES 


DE 


2482 


.39 


MY OLD MAn/puDD|N'HEA0 JONES ME 


12848 


.59 


chiu chiu/brazil 


CO 


36651 


.59 


U U DA RL IN/wiND RAIN 


DE 


3103 


.89 


SEE 1 N BELIEVIn/flOWERS MADAM ME 


13392 


.59 


BERN IE CUMMINS 








ONE TRACK MIND/lD KNOW U ANYWHERE 


DE 


3434 


.89 


ONE HOUR WITH u/whAT WOULD YOU PE 


15583 


.59 


SEEMS LIKE MONTH SUNDAYS/LOSING M 1 BB 


10777 


59 


DELMORE BROTHERS 








STORMY WEATHER/LETS CALL IT DAY PE 


15757 


.59 


8 1 NG CROSBY 








BETTER RANGE IS HOME/SAME THING 


BB 


8290 


.79 


seein believin/flowers madam(cr)pe 


|6| 14 


.59 


TAKES TWO MAKE BARGAIN/WITHOUT WORDE 


548 


• 89 


DINICU ORCH 








3AY IT/THEN ILL BE TIRED 8A 


33128 


.59 


ADESTE FIDELIA/SILENT NIGHT 


OE 


62 1 


89 


HORA stocata/chanson DU berger 


CO 


348 


.59 


TINY LITTLE FINGERPRI iTs/ONCE BA 


3332 l ( 


.59 


ALOHA OE/SONG ISLANDS (e/f) 


DE 


880 


• 69 


AL BERNARD AND J. RUSSELL ROBINSON 




IM BUILDING UP To/aLONE AT TABLEME 


60409' 


.59 


HAWAIAN PARADISE/SOUTH SEA 1 SL 


DE 


886 


99 


KEEP ON GOIn/my DOG 


BR 


2762 


.69 


LOVE AME OUT NITE/HILLS WYOMING ME 


60514 


.59 


LETS CALL HEART HEA RT/PENM 1 ES HEAVDE 


947 


89 


AL DONOHUE 








BOB CHESTER 






DEAR OLD GIRL/jUST ONE WORD CONSO 


DE 


1044 


.89 


LAM'ETH WALK/STOP BEATIN MULBERI? 


VO 


431 8 


.59 


PRACTISE MAKES PERFECt/dONT LET GETBB 10338.59 


SWEET LELANl/BL HAWAII 


DE 


1 175 


89 


BUTTON BUTTON/WHEN PA COURT 1 N MA 


VO 


4476 


.59 


CHP LY AND COLD/TILL LIGHTS B8 


10972 


.69 


TWO MARVELOUS WORDS/WHAT WILL TBLLDE 


1 1 85 


89 


our love/little SKIPPER 


VO 


4736 


.59 


MAR ION CHASE 






ONE rose/sentimental MELANCH 


DE 


1 20 1 




WHITE SA 1 LS/PERS 1 AN RUG 


VO 


4956 


.59 


SHOULD 1 BE SWEET/APRIL PARIS LMS 1 53 


.89 


SMARTY/M08N GOT IN YES 


DE 


1375 


• 89 


GO FLY KITE/MAN AND DREAM 


VO 


4970 


.59 


BILL CHITWOOD AND BJD LANDRES 




ALL U WANT DO IS DANCe/naTURAL 


OE 


1376 


39 


POOR OLD JOE/JIMMINY CRICKET 


VO 


51 13 


.59 


JERUSALEM MORN/HOWDY BILL BR 


2809 


.59 


love kiss goodnite/remember ME 


DE 


|45| 


89 


DORSEY BROTHERS 








OVER THE SEa/| GOT MINE BR 


2810 


.59 


BASI N ST/BOB WHI TE 


DE 


1483 


39 


HONEYSUCKLE ROSE 1-2 


DE 


296 


1 .29 


JOHNNY GET YOUR GUn/fOURTH JULY 3R 


2883 


.59 


DREAM ABOUT HAWAII/SAIL SILVERY 


DE 


1518 


39 


JIMMY DORSEY 








CHUCK * AGON GANG 






GOLD MINE SKY/MISSION BY SEA 


DE 


1656 


89 


< 1 LLY KALEE/HAVENT CHANGED THING 


DE 


1961 


.59 


EMPTY MANSION/LORD LEAD ME ON VO 


5536 


.59 


DANCING UNDER STARS/PALACE PAR^DISOE 


|6|6 


89 


LETS STOP CLOCk/maSKERADE OVER 


DE 


2293 


.59 


WILL U LOVE ME/ENGI 'JEERS CHILD VO 


4105 


.59 


MOON UANICURa/m' NIGHT DREAM 


DE 


1649 




LATINS KNOW HOW/FOOLS FALL IN LOVEDE 


3176 


.59 


GETTIN READY '.EAVE WORLd/h,I 0 1 NGOK 


5782 


.59 


PLEASE BE KINO/l SIMPLY ADORE U 


DE 


1693 


39 


HOW CAN 1 BE ALONE/TENNESSEE FISH 


DE 


3 197 


.59 


TED CLAIRE SNAPPY BITS BAND 






DONT BE THAT WAy/lITTLE LADY MAKE 


DE 


1794 


• 89 


CONTRATs/pERF 1 D 1 A 


DE 


3198 


.59 


FOUR OCLOCK Bl/|M GONNA GET U GE 


81 91 


.99 


ALEXANDERS RAGTIME B A ND/H°ME ON R ANGDE 1 987 


89 


oolomite/hep TEE hootie 


OE 


331 2 


.59 


HELEN CLARK &ELLIOT SHAW 






BL SERENADE/GOT POCKET FULL DR 


DE 


1933 


.89 


1 HEAR RHAPSODY/MEMORY OF ROSE 


DE 


3570 


.59 


IHROW OUT lifeline/hymn MEDLEY VO 


1421 I 


.59 


SILVER SAGE/MEX 1 CAL 1 ROSE 


DE 


2001 


.69 


NEW SHADE 3L/jlM 


DE 


3963 


.69 


M I R 1 AM CLARK 






MY REVERIE/OLD FOLKS 


OE 


2|23 


.39 


MOONLIGHT MASKERADE/WAS IT U 


DE 


3991 


.59 


90HEMIAN GIRL/MI KABO MEDLEY NML 1 027 


.59 


MUST BEEN BEAUTIFUL BABY/SUMMERT 


DE 


2|47 


.99 


TOMMY DORSEY 








CLICQUOT CLUB ESKIMOS 






JOOBALA |/yOJR SWEET HEAOACHE 


DE 


2200 


.89 


GETTING SENTI ENTAL/GOT NOTE 


V 1 


25236 


.69 


■ i ngs/humoresk l MO CO 


1322 


.59 


1 HAVE EYES/FUNNY OLD HILLS 


DE 


2201 


.89 


JADa/rOYAL GARDEN 


VI 


25326 


1 .29 



32 



SALE 






J. E. WARNER 












SALE 


t nun v nnDcrv pomt imiipti 

IUMMY UUKbLI LUIIt IINULU 


V 1 25570 


.99 ; 


GOODMAN CONT 1NJED 








H INES CONT UJUED 








SATAN TAKES H0LI0AY/NOLA 


,ENT FOR U YESTEROAY/ANGELS 


VI 26170 


HQ r- 


ATHER STEPS In/pIANO MAN 


BB 10377 


.59 


OLD FLAME NEVER 0 1 ES/ IF U W ERE 


v I 25649 


.99 , 


IORLD WAITING SUNRISE/SOLO FLIGHT 


CO 36684 


• 39 


HOOSIER HOT SHOTS 








ANNIE LAURIE/MORE THAN EVER 


v 1 25774 


.99 


!OSE room/flying home (both co-f)co 35254 


3Q 


FTER U GONE/u SAID SOMETHING 


VO 


42 1 5 


.59 


MY WALKIN STICk/nO* CAN BE TOLD 


vr 25856 


.89 


TEDDY GRACE 






I 


OOK N FOR GIRL/SHE SAIO DO 


ME 13387 


.59 


OUR LOVE/ONLY IN MY A RaA.S 


V I 26202 


.39 


"ANCY TO YOU/NEVER LET U CRY 


DE 


1602 


QQ r 


'VERYTHING 1 Do/l DONT CARE 


VO 


5584 


.59 


ALL 1 REMEMBER IS u/aLL RIGHT 


V 1 2623 1 


69 


)ownhearteu/monday MORN ( TEA, KYLE ) 


DE 


2i28 


89 


HARRY HORL ICK 








BY RIVER ST MARIE/MARCH TOYS 




89 


.ONESOMEST GAL TOWn/sEE WHAT BOYS 


DE 


3428 


QQ 


LUE DANUBE/SPRING beau 


DE 


2177 


.59 


VOL VISTU GAILY STAR/lOO — 1 


vi 2636 3 


• 69 


GLEN GRAY 








BOB HOWARD 








stomp it off/night GLOW 


V| 26376 


.69 


:otton»/ooo corners/head on pillow 


DE 


347| 


.69 


STAY OUT LOVE/lLL NEVER C ANGE 


DE 


439 


.89 


careless/darn that dream 


vi 26433 


.79 


JIMT0WN 8L/BIG BAD BILL 


DE 


3307 


.89 


rHATS WHAT U MEAN TO ME/COPPER 


DE 


990 


.99 


MARCH 1 Ta/nEVER SMILE AGAIN 


VI 26628 


.79 


CORAL SEA/WHEN BUDDHA SMILES . 


OE 


3261 


.79 


JETTER COME BACk/kEEPIN OUT M 1 SCH 


DE 


2730 


.99 


st a rdust/sw a nee river 


VI 27233 


.89 


=!OCK ISLAND FLAG STOP/uNDER BLANK 


DE 


3193 


.89 


ROSETTA HOWARD HARLEM HAMFATS 






ne I ana/ this love mine 


VI 27508 


.99 


MO NAME JIVE 1-2 


DE 


3089 1 .39 


rouR A v I per/rosetta BL 


DE 


7370 


.69 


blue blazcs/janhattan serenade 


VI 27962 


.99 


OUT OF. SPACE/BL RA 1 N 


DE 


3802 


.79 


JIMMY HUNTER 








chloe/at fat mans 


V 1 20 | 737 


.39 


LITTLE OLD LADy/waSHBOARD Bl(hOaGy)dE 


2394 1 


.19 


;oney island/sing u thousand 


ME 6 1 1 08 


.59 


BOB DUNNS VAGABONDS 






ET HER GO/SWING LOW 


DE 


1396 


.69 


WALTER HURDT 








ILL TELL WORLD/MEET ME TONIGHT 


DE 5789 


.59 


J IMMY GR IER 








TRAIN SPECIAL/LOST DOE 


BB 


3063 


.59 


CHAMPION jack dupree 






SAYS MY HE A R t/b RE A THLE SS 


DE 


1 797 


.59 


INK SPOTS 








GIBING BL/DUPREE SHAKE 


OK 6|04 


69 


GEORGE HALL 








»HAT CAN 1 Do/wHEN SWALLOWS COME 


backde3i95 


.59 


DUKE ELLIN3T0N 






OH MAMA/wiLL U REMEM3ER TOMORROW 


VO 


4085 


• 59 


GREATEST MISTAKe/wE THREE 


DE 


3379 


.59 


THREE LITTLE WOPDS/RING OEM 8ELLVI 22523 


.99 


JOHNNY HAMP 








HEY DOc/l DONT WANNA SET 


DE 


3987 


.59 


9 LITTLE MILES/WHAT GOOD AM 1 


VI 22586 


.99 


MOONLIGHT ON PRAIRIE /LITTLE BUCK 


BB 


6838 


.59 


SOMEDAY ILL MEET /l LL GET BY 


DE 


8579 


.59 


THE MOOCHE/MOOD 1 ND 1 30 


VI 24486 


.99 


LIONEL HAMPTON 








HARRY JAMES 








DONT GET A ROUND MUCH/COTTON TAILVI 266IU 


.79 


BABY WONT J PLEASE/AFTER U GONE 


VI 25674 


.89 


BOO hoo/woo WOO 


BR 


83 13 


.49 


RA 1 NCHEC k/pERD 1 DO 


VI 27880 


.99 


sun will shine/your MY IDEAL 


VI 25771 


.89 


THE JESTERS 








dusk/warm valley 


VI20I534 


.89 


STAND BY FOR FURTHER/ IG WIG 


V 1 


>6296 


.99 


ANY OLD PLACE/WHERE DO WEGO FROM 


DE 


4120 


.59 


MAIN STE\l/jOHNNY COME LATELY 


Vl20l 1 56 


.89 


MEMORIES OF u/jUMP JIVE 


VI 


>6304 


.99 


JO AND ALMA 








soph lady/stormy WEATHER 


CO 35556 


.39 


HEEBIE JEEBIEs/GIN XMAS 


VI 


'6423 


.19 


WHEN BEES IN H 1 VE/U LEARNED LOVE 


VO 


4|73 


,59 


BLACK TAN FANTA Sy/mO 1CHE 


BR800002 


.69 


IM ON WAy/hAVENT NAMED IT TEY 


V 1 


26476 


.99 


BUDDY JOHNSON 








SEGER ELLIS ORCH 






HARLEM HAMFATS 








WHEN MY MAN COMES HOME/lLL ALWAYS 


DE 


8655 


.59 


THREE LITTLE WORDS/SHIVERY STOMPDE |275 


.99 


TIMES w AST 1 n/r AT HER BE WITH U 


OE 


7454 


.69 


CURTIS JONES (HOT BOX JOHNSON ) 






ZIGGY ELMAN 






COLEMAN HAWKINS 








FALL 1 N FOR U BABY/ROLL ME MAMA 


VO 


4693 


.99 


ZAGGIN ZIG/YOURE MINE U 


BB |03|6 


. 89 


MEET DR FOo/sHES FUNNY 


BB 


l'"477 


.99 


SPIKE JONES 








ERNIE F IELDS 






CRAZY RH YTHm/hONE YSUCK LE ROSE 


VI 


26219 


.99 


COCKTAILS FOR 2/LEAVE DISHES 


VI20I628 


.59 


LARD STOMP/T TOWN BL 


VO 5073 


. 79 


NETCHAS ORE A m/c H 1 C A GO 


DE 


661 


.99 


DICK JURGENS 








SHEP FIELOS 


BB 6685' 


.59 


ERSK 1 NE HAWK I NS 






.69 


ISLE OF MAY/HAPPEN TO BE IN LOVE 


VO 


5361 


.59 


ONE NEVER KNOWS/GOODNIGHT LOVE 


WONDERFUL FEEL/SNE ft K 1 N OUT 


VI20I383 


JOHNNY DODDS 








WHAT HAVE U GOT/YOURE LOVELY 


BB 7774 


• 69 


KING PORTER STOMP/wEARY 3L 


BB 


7839 


.79 


BLUES GALORE/SHAKE YOUR CAN 


DE 


74i 3 


1.99 


FREODY SCHNICKELFRITZ FISHER 




LET PUNISHMENT FIT CRIME/l LIVING 


BB 


10213 


.79 


29th dea rborn/w ildman bl 


DE 


21 1 1 


1.99 


WILBERFORCE GET OFF HORSE/P 1 STOLDE 4425 


.69 


GABRIEL MEETS DUKE/WH 1 SPER 1 NG GR 


BB 


1067 1 


.69 


LIONEL HAMPTON 








ELLA F ITZGERALD 






DOLOMITE/ 00 MANYDREAMS 


BB 


10812 


.69 


MUSKRAT RAMBLE/RING DEM BELLS 


VI 


26017 


1.19 


IF U EVER CHANGE M 1 ND/ANYTH 1 NG 


DE 2481 


.69 


LENNY HAYTOM 








fiddle diddle/dont be that way 


VI 


26173 


1.19 


STAIRWAY TO STARS/OUT NOWHERE 


DE 2598 


• 69 


AC DC CURRENT/TIMES SQ SHUFFLE 


VO 


5471 


.89 


HAL KEMP 








billy/please TELL ME TRUTH 


DE 2769 


.69 


FLETCHER HENDERSON 








WHISPERS IN DARK,/ST0P BREAKING 


V 1 


25598 


.99 


STARLIT HOUR/lS THERE SOMEONE 


DE 2988 


• 69 


SAVIN SELF FOR u/LITTLE TH COUNT 


vo 


4154 


l 9 29 


TAKE Tl° FROM TULIP/SPEAK HEART 


V 1 


25732 


.99 


TAKING CHANCE ON LOVe/cABIN SKY DE 3490 


.69 


UNTIL TODAY/KNOCK KNOCK 


V 1 


253 73 


1 .29 


3 LITTLE F 1 SHES/CHESTNUT TREE 


VI 


26204 


.89 


S0MEB00Y NOBODY LOVE/u DONT KN 


DE 4802 


• 59 


HORACE HE IDT 








SUNRISE SERENADE/lF ITS GOOD 


VI 


26215 


.89 


JOHNNY FOSOICK ORCH 






SHACK SACK HILLS/T IPI Tl N 


BR 


8073 


.69 


CANT R EMEBRE TO FORGEt/yOUR ONE 


V 1 


27261 


.99 


swingin jingle/get hep nocturne 3|35 


.59 


bewildered/gypsy told me 


BR 


8092 


.69 


BRADLEY KINCAID 








FOUR SQUARES 






WHO ARE WE TO SAY/SHADOWS MOON 


BR 


8096 


.69 


BURY ME OUT ON PRA 1 R 1 e/aFTER BALL VO 


5474 


.79 


BLUE SKIES/PUT ON GRAY BONNET 


VO 4097 


.59 


lovelight starlight/where we met 


B 'R 


8110 


.69 


K 1 NG S MEN 








ROY FOX 






LET ME WHISPER/THIS TIME REAL 


BR 


81 2 1 


.69 


LAZY ROLLS RIO/3 LITTLE FISHES ■ 


VO 


4838 


.59 


josep.iine/(wayne king) 


VI 25513 


.59 


LITTLE LADY MAKE BELIEVE/wHAT 


BR 


8|25 


.69 


FRED KIRBY 








BLIND 30Y FULLER 




.59" 


CATHERDRAL IN PINES/GIRL BONNET 


BR 


8133 


.69 


HOME/NIGHT ON PRAIRIE 


BB 


7|64 


.59 


Li«T-E woman/ybmr situp go 


vo 5476 


OH MAMA/F ERDINAND THE BULL 


BR 


8138 


.59 


JOHN KIRBY 








coRrine WHAT makes u/weepins WILDE 7881 


.59 


SUGAR BL/RIDIN TO GLORY 


BR 


8162 


.69 


LITTLE STRET S 1 NGAPORE/ZOMB 1 E 


OK 


567| 


.99 


SLIM GAILLARD 






BESIDE MOONLIT STREAm/f 1 GA RO 


8R 


8|75 


.69 


DRINK TO ME ONLY/AN 1 TRAS DANCE 


VO 


4890 


.99 


U ONLY u/MATZOH BALLS 


VO 5301 


.99 


L 1 TTLE D RUMMER BUy/bRANO NEW PIC 


BR 


3179 


.69 


NOCTURNE/FRONT AND CENTER 


VO 


5520 


.99 


JAN GARBER 






GOTTA DATE DREAM/MAY 3E NIGHT 


BR 


8134 


.69 


ANDY KIRK 








rollerskating rainbow 


vo 4832 


.59 


FALLING IN LIVE/LILLIAN 


BR 


8229 


.69 


LOTTA SAX APPEAL/BEARCAT SHUFF 


DE 


1046 


.79 


ivory colored wall/concert park vo 5889 


• 69 


daroanella/good olsummertime 


BR 


8248 


.69 


WHAT TELL HEART/LADY WHO SWINGS 


DE 


1085 


.79 


poured heart/old fashioned tune VO 4900 


.69 


CANT BE L^VE/SING SUPPER 


BR 


3257 


.69 


WITH LOVE IN HEART/WHY CANT WE DO 1 TOE |477 .79 


TWO OTHER PEOPLE/OLD MILL WHEEL VO 4940 


.69 


WHERE HAS DOG GONE/cLA R 1 NET POLKA BR 


8299 


.69 


POOR BUTTERFLY/LOVER COME BACK 


DE 


1663 


.79 


ONLY ONE IN LOVE/SHABBY CABBY 


VO 4952 


• 69 


LITTLE SIR ECHO/LETS STOP CLOCK 


BR 


8309 


.69 


JULIUS CAESAR/u SET ME AFIRE 


DE 


2383 


.79 


WORLDS FAIR WALTZ/WANT WAITER 


VO 5012 


.69 


DAWN NEW DAY/PENNY SERENADE 


BR 


331 3 


.69 


|5 MINUTE INTERMISSION/FINE AND 


MELLOE 3282 .79 


AFTER WE SAY GOODN 1 TE/RUNN 1 N DO VO 5038 


• 59 


COME LONG WAy/nEVER AGAIN 


BR 


831 6 


.69 


SCRATC' I 1 N GRAVEL/TAKIN BL AWAY 


DE 


3293 


.79 


BONNIE BIG BL EYES/SEVENTEEN 


VO 5 1 1 4 


• 69 


how str^nge/maskerade over 


BR 


8329 


.69 


LITTLE MISS/WHEN 1 SAW U, 


DE 


3491 


.79 


.WHEN TWILIGHT COMEs/SAME SWEET 


UBR 81 76 


• 69 


OONT WORRY ME/wHAT GOES UP MUST 


BR 


8a34 


.69 


OR HAVE l/lF 1 FEEL THIS WAY 


OE 


3582 


.79 


ERNIE GOLDEN ORCH 






BUILDING SAILBOAT/RED SKIES 


BR 


8339 


.69 


RING DEM BELLS/CUBAN 800G 


OE 


3663 


.79 


SONG VAGABONDS/CUP COFFEE 


HA 86 


• 5? 


STRANGE ENCHANTMENT/SENTIMENTAL 


BR 


8343 


.69 


RIDE ON RIDE On/uNLUCKY BL 


DE 


4436 


.79 


BENNY GOODMAN 






LITTLE SKIPPER/WHEN IN ARMS 


BR 


8348 


.69 


GENE KRUPA 








king porter/sometimes im HAPPV 


VI 25090 


• 99 


BEER BARREL POLKA/p ITZICATT 1 


BR 


8354 


.69 


OLD BLACK JOE/OLD KENTUCKY HOME 


CO 


35205 


.69 


sandman/goodbye 


VI 25215 


gc 


' NEW MOON OLD SEREn/chESTNUT TREE 


BR 


8360 


.69 


NIGHTINGALE SANg/i HEAR MUSIC 


OK 


5802 


.79 


BREAK 1 N IN PAIR SHOEs/sTOMP 1 N 


VI 25247 


• 99 


ILL GET BY/SPOSIN 


BR 


8368 


.59 


u were there/rancho PILLOW 


OK 


6376 


.79 


BOUND NEW BABY./SWINGTIME ROCKIESVI 25355 


||C 


1 HOW WARM WEATHER/SUNRISE SERENADE BR 


8372 


.69 


coppin a plea/volets for furs 


OK 


6498 


.79 


PICK SELF UP/DOWN SOUTH CAMP 


VI 25387 


1 • 1 c 


1 WHISTLIN W ILDWOOD/BOOM 


BR 


3379 


.69 


massachusetts/murder he says 


OK 


6695 


.69 


moonglow/dinah 


VI 25393 


1 . 1 c 


WOODY HERMAN 








bolero at savoy/murdy purdy 


BR 


8284 


.79 


LOVE ME LEAVE Me/exACTLY LIKE 


U VI 25406 


1 • 1 9 


1 BIG WIGWIGWAM 


OE 


2440 


.69 


HANDS ARE TIED/VARIETY SPICE 


BR 


8346 


.79 


RIFFIN Rl Tz/aLEXANDERS BAND 


VI 25445 


.7< 


' FAREWELL BL/CASBAH 9L 


DE 


2582 


.99 


challenger chop/oont be surprised BR 


8412 


.79 


GNIGHT MY LOVE/TAINT NO USE 


VI 25461 


• 8< 


' JUKIn/hERMAN AT SHERMAN 


DE 


3272 


.59 


KAY KYSER 








MELANCHOLY BABY/SWEET SUE 


VI 25473 


l.0< 


' hey doc/night WATCHMAN 


OE 


3889 


.69 


FEELIN GONE/HAVIN SELF TIME 


BR 


8126 


.79 


SOMEBODY L VES ME/jAM SESSION 


v| 25497 


l.3< 


' 3 WAYS SMOKE PIPE/DONT BE BL 


DE 


4076 


.69 


STAIRWAY TO STARs/u DONT KNOW HOW BR 


8381 


.79 


STOMPIN SAVOY/v IBRAPHONE BL 


vi 25521 


.9< 


' EARL HINES 








CONCERT IN PARK/ALL 1 REMEMBER 


BR 


8385 


.79 


SING SING SING 1-2 


vi 25 796 


.9< 


' TOPSY TURVY/ANN 


BB 


10370 


.79 


LOVE WITH CAPITAL u/sTUTTERING 


BR 


8456 


.79 



33 



5 All 



J. E. WARNER 



SALE 



r -- :es ,: r :-: 

Z. ■ — - = A|; - -AST THING WE 1464 
ECHTS HAWAII/SlAN »1TH MANDOLIN DE 2595 
LOVELY HULA HANDS/SOUTH SEA SAOt-EDE 4246 

lepr's ;uj: v 

OWIN 5ACK HOME/CHAMP JOE LOU 1 5 DE 



so yuCH trouble/iOOO yrs and 

LUMi'lE LEWIS MERRYMAKERS 



- «: = = a -z ---.£-<: =l 


VO 


3696 


.79 


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iooo u i le bl/footwarmer 


VO 


4770 


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3 . • L0M3ARD0 








iv t •. » ; ' T i ■. y: - = ; v 1 \ E 


VI 


25599 


.79 


eveb'Thing/i see face before 


VI 


25634 


.79 


RIDE TENDERFOOT RIDe/lOVE U 


VI 


25361 


.79 


EASTER A RAOE/^IY BEST Gl RL 


DE 


2345 


.69 


BEALE ST 3l/fOR UE AND MY GAL 


DE 


4371 


.59 


JOHNNY LONG 








TAKE IT JACK30./VISS JOHNSON 


DC 


3785 


.49 


WHY D0NT u FALL IN LOVE/THEN U 


DE 


4375 


.49 



VINCENT LO°EZ 



EACH TIME U SAY GOODBYE/THIS HEA RB3 1 0354 
CHARLIE BOXER/WILLY WILLY ■ ILLYABB |079| 
SPELLING BEE/THERES HONEY ON "OONVO 4|4| 

JIMMY LUNCEFORD 
RHYTHM IS BUS INESS/sTARDJST DE 
NUTS ABOUT SCR'wy/walki NG HEAVENDE 



FRISCO FOG/ANNIE LAURIE DE 

LIFE IS FINE/LOSING MIND DE 

TAINT a HAT YA Do/chEATIN ON ME VO 

BLUE 3LAZES/BA3Y WONT U PLEASE VO 

YOUR JUST OREAM/lVE ONLY SELF VO 

mandy/lonesome RO VO 

THIS THING CALLED SW I Ng/a I NT SHEVO 
•ELL ALL SIGHT/TIMES »ASTIN VO 
I LOVE U/OH IHY OH WHY VO 
WANT WAITER WATEr/u LET ME DO VO 
SA=SIN BOSs/whY DID U MEET VO 
THINK ME LITTLE DADDy/bELG I UM STVO 5 207 
- : '■ 

lu --L.I '.3 in love/love SONG BB 10572 .59 

TOMMY LADNIER 
WHEN U AND I YOUNG MAGG IE/rEALLYBB 10089 .99 

'. - : - • 

MOTHERS PRAYER/WHEN I TAKE VACA DE 5086 .59 
WADE MA I %ER SONS MOUNT I NEERS 



369 
682 
1569 
4239 
4582 
4667 
4754 
4831 
4875 

4979 
5033 
5| 15 



BLUE RAIN/WriOS SORRY NOW (CH) 

Indian sjmmer/farewell 3L 

JOHNSON RAG/WRITTEN IN STARS 
FAITHFUL TO u/BLUE WORLO 

old dutch garden/starlit HOUR 
gaucho serenaoe/when u wish star 

MODERN V.OJNTAl NEERS 
BAD BLUES/MODERN 
MONKEY JOE 
RAB3IT FOOT Bl/taxES ON POLE 

- _- : - -: ; 

MULE SKIN-JER BL/six *HITE HORSES 

<.■:-.'-.- --_ .' 

ROOTIN TOOT IN COWBOY./RED PATCH 

JOHNSON RAG/CHINA DOLL 
I WANNA BE WINCHELS COLUMN/'bWAY 
DROP Nl CKLE/jOSEPH JOSEPH 
MORRIS SHOWN QUART 

AN TELL WORLD/SWING LOW CHAR I 

SNUB MOSELY BAND 



8273 . 59 



D BU ARCS DREAM/WERE U THERE 

ki',3- v.: 

TIN ROOF BL/TAR PAPARE STOMP OE 7425 
MOSQJITO SONG/SHES CRYIN FOR ME BB 10773 

FREDDY MART I 'J 
CARLSTAD BALL/H'JT SUT SONG BB t I 1 47 

TONY MARTIN 
COWBOY SERENAOE/HILLS -OME DE 3989 

-p^x IE MiS'Es; 
I WALK WITH MUSI c/CHARH I NG FAKERVO 5394 
EYES ON u/iRAP U UP VO 5352 

SAY IT/»Y UY VO 54|7 

WATCH IN CLOCK/POLKA DOTS MOONBEAMVO 5480 
PESSIMISTIC CHARACTER/MEET SUN VO 55|7 

MAC (HARRY MAC CLINTXK) 
bum song/hallelujah im bum 
_ O: MC COY 

TEAR IT OOWN/SUGAR 3L 



BB 11033 
DE 381 



MC KENZIE CONS ON Ch ICA3CAN5 



CHINA BOY/SUGAR 

CLAYTON MCMICHEK 



CO 35951 
GEORGIA WILDCATS 



DE 3363 1.39 



2342 
3930 



PLEASE DONT SELL PAPPY RUu/pUT 

JIM'Y MC PARTLAND 
EC CENTR I C/P ANAMA 

MERRY MA3S 
; •: ~ : - ~ i-z- z t 
KISS BOYS GOODBYE/HONK HONK 

MILLS BLUE RHYTHM BAND 
CONGO CARA'/An/ri DE REG R IDE 

MILLS BROTHERS 
U TELL ME YOUR DREAu/swEET A DEL OE 
GUESS ILL BE ON WAY/BELLS SAN DE 

. _e v 



.79 

1.99 

.59 

.69 

.59 
.59 
.59 
.59 
.59 

.59 

.49 

.59 

.59 



.69 
.69 



OK 6 1 I 9 1.39 



2285 
4070 



.69 
.69 



SWNRISE SER/mOONL 1 GHT 


SEREN 


BB 


|02|4 


1.19 


LOVE WITH CAP u/ANGEL 


FURNISHED 


BB 


10383 


.99 


ISLE GOLDEN/WHAM 




BB 


10399 


1 .09 


BLUE MOONLIGHTy^Y PRAYER 


BB 


10404 


1 .09 


IN THE MOOD/l WANT BE 


HAPPY 


BB 


|04|6 


.69 


LAST NIGHT/MELANCHOLY 


LULLABYE 


BB 


10423 


.99 


SPEAKING HEAVEN/BLESS 


U 


BB 


10455 


.99 



ALICE MOORE 



B - 


1 0486 




BB 


10495 


.99 


BB 


l 0498 


■ 1 9 


BB 


10536 


.99 


33 


1 0553 


• 99 


BB 


10570 


.29 


BB 


7671 


.59 


VO 


4471 


.99 


BB 


8586 


.99 


BB 


8361 


.69 


DE 


2778 


.99 


3R 


8104 


70 


BR 


8097 


.89 


T BB 3275 


.59 


: DE 


861 4 


.59 


DE 


7369 


.99 


BB 


7430 


.69 


BB 


7465 


.59 


NBB 


7723 


79 


BB 


7825 


.79 


BB 


10293 


69 


BB 


1031 1 


.69 


B3 


I037| 


.69 


B8 


1 1 1 55 


.69 


BB 


10179 


.79 


VO 


3987 


.79 



DONT DENY ME 3ASy/T0O MANY MEN 

OZZIE NELSON 
old apple tree/shack in back 
joseph/happy ending 

RAM3LIN WRECK GA TECh/0N WISCONS 
FORGET IF U CAN/AT LON LAST 
I LOVE U/SAY SI SI 

u and love/white sails 

L0VL1 NESS/STUTTERI NG IN STB 
8EA I T O'JT/wHEBE 
RED NICHOLS 
YOUR SO DESIRABLE/OUR LOVE 

NIGHT OWLS 
v a " I E z :• a-. v - 
FRANK NOVAK 
SHE WAS A SAILORS/DEAR OLD GORL VO 39l 3 
I AINT NO DARLIfl/wORKIN ON BAILR ME 70561 
RED UORv'O ().' i LDRE J BAILEY) 

HOW CAN U FORGET/BOY IS HARLEM 
U LEAVE ME BREATHLESS/SAYS HEAR 
U MUST BEEN BEAUT I FUl/juST U 
THERELL NEVER BE ANOTHER u/TOAD 
3 LITTLE FISHES/SOD ESIRABLE 
YOURS FOR SONG/l CAN READ 
MY LOVE FOR I DOLE DREAM 

■- . " . - : : - - 

LET SONG GO OUT/ROCK IT FOR ME 

- : : 

HAW A I I AN PARADISE/ONE ROSE 

'.. 

blues/green eyes 

TEDDY POWELL 



ARTIE SHAW CONTINUED 
ONE N GHT STAND/ONE FT GROOVE 
OCTAROON/ALL I REMEMBER 
COMES LOVE/l CANT AFFORD 
MELANCHOLY MOOD/mOONRA Y 
ILL REMEMBER/EASY TO SAY 
GO FLY KITE/MAN AND DREAM 
DAY IN DAY OUT/PUT DOWN WRITING 
TWO BLIND LOVES/LAST TWO WEEKS 
YOURE LUCKY GUy/lOVE HERE 
DONT FALL A SLEEp/glOOMY SUNDAY 
KING FOR DAY/APRIL PARIS 

stardust/temptati ON 
DR L IV I NGSTONE/wHEN QUAIL COMES 

3EBT SHEFTER 
sos/locomotive VI 25614 

TAMING DEVIL/AIRPLANE AND BEE BR 8072 

PERLEYS 3REEDS SHEPARD COLONIA L ORCH 
*-E-E= S*E:-TIE -i:r,; : = Eaw r. e = -r 



an 


8089 


.99 


BR 


8135 


.99 


BR 


8240 


.99 


10 


4738 


.99 


VO 


4785 


.99 


. a 


4818 


.99 


MO 


4953 


.99 


ae 


7567 


.89 


DE 


1470 


.59 


BB 


1 I 168 


.59 


BB 


1 1089 


.69 


DE 


8503 


.79 



VO 3503 



i|SE OLD OWL/2 HEARTS PASS 

CLARENCE PROFIT TRIO 
HOT bothered/times SQ BL 

THE °ANGE RIDERS 
HOW COME U DO ME/WHO CALLED U 

- :~ 

MORE GIRLS THAN I /BOOTLEGGERS STORYBB 7484 

RAM3LIN KIO AND PROFESS OR 
EVERGREEN TREE/ LITTLE HOME ME70T54 

----- -' ■ 

S1NGIN THE BL 3*EETEST STORY EVER DE 

JAN SAVITT 
WONDERFUL *ORLD/HONESTLY DE 



.59 
.59 
,59 
1973 1.29 



big beaver/april -howers 
ART IE SHAW 



3695 



ILL BE WITH U APPLE/LET HER GO VO 4438 I 

Chant/fe Fl FO FUM VO 4539 I 

SOUTH SEA ISLAND MAGIc/lT AINT Rl VO 4637 

I USED TO BE/NO REGRETS VO 4837 I 

CHANT/FE F| FO FUM 8R 7952 

INDIAN LOVE CALL/BEGIN 3EGUINE BB 7746 

COME ON/l DONT BELIEVE YOURE BB 7772 

HON STOP FLIGHT/nIGHTMARE BB 7875 

DEEP IN DREAM/OAY AFTER DAY BB 10046 

THANKS FOR EVERYTH I NG/bETJEEN KISSBB 10055 

say it with kiss/took million yrs bb 10079 

i want share/delightful delerium bb |0|34 . 

all yours/this is it bb |0|4| 

prosscha/im in love with bb i0i38 

if u ever change mind/u grow swee bb |0|95 



.59 
.59 

.29 

.39 

.79 

.39 

.89 

.89 

.89 

.89 

.89 

.89 

.89 

89 

.89 

.89 

.89 



BB 


10202 


.39 


BB 


10319 


.69 


BB 


10324 


.55 


BB 


10334 


.69 


BB 


10345 


.69 


BB 


10347 


.69 


BB 


10406 


.79 


BB 


|04|2 


.5 3 


BB 


10482 


.69 


V> 


26563 


.99 


VI 


26654 


.69 


VI 


27230 


.99 


VI 


27239 


.69 



.89 
.89 



.99 



5608 

SLIM AND SLAM 
vol vistu gaily star/jump sess VO 4346 .99 
gettin kinda chilly/sweet SAFRONIAVO 4594 |.|9 

SNUFF SMITH. ONYX CLUB 
ise a muggin/numbers gave vo 3169 .69 

SWEET VIOLET BOYS 
GOTTA SEE MAMA EVERY NIGHT/lULU VO 5498 .69 

" -"• - -e: : -- : - r : 

check I N up ON u/yes DARLING BB 7976 .59 

JACK TEAGAR3EN 
*-i t e 3A l; ::TA-:r\ BR 3388 .89 

PICKIN PATSY/UNDERTOW BR 840 1 .89 

GOT A RIGHT SING THE Bl/y a NKEE BR 8397 .59 

BLUES GOT ME/PRELUDE TO 3L DE 4409 .99 
ART TAT JM 

STOMP IN SAVOY/LAST GOODBYE DE 8536 .99 
CORRINE CORRINE/LONESOME GRAVEYARDDE 8563 .99 

lucille/rock me MAMA DE 8577 .99 
DICK TODD 

CANT GET U OUT MINd/lITTLE SIR BB 1 0 1 69 .59 

TOMMY TUCKER T I ME 

honestly/man C.OMES AROUND VO 5199 .89 

UNIVERSAL :Oi30YS 

oh marie/night SPOT BL VO 5 1 89 .69 
POLKA DOT WASHBOARD BAND 

BACK DOOR/WE GOTTA MOVE DE 7378 .59 

JERRY WALD 

CRAZY BL/SHOO SHOO BA3Y DE 443l .59 

FATS WALLE 

PORTERS LOVE SONG/swI NG THEV JINGLBS 10015 1.69 

83 10135 I .59 
VI 25194 1.79 
BB 10192 1.59 
BB 10500 I .09 
BB 10989 1.29 
V| 25762 1.19 



HARLEM FUSS/MINOR DRAG 
SUGAR 3l/s0MEB0DY STOLE MY GAL 

taint what u do/some rainy day 
suitcase suzie/feets too big 
scram/everybody loves/(rim ch) 
why hawaians sing/window faces 

WASHBOARD SAW WASH30ARD B AND 
OIN ST LOUIS/GOOD LUCK 3L ' 
oh babe/louise 

CHICK WEBB 



8569 
8469 



.49 
.69 



BLUE MINOR/SUNNY SIDE ST 

OVER BECAUSE THRu/DONT BE THAT W 

LAWRENCE WELK 
MY wan/stumblin 

GEORGIA WH I IE 



DE 


172 


.89 


OE 


483 


.89 


VO 


4848 


.59 


NEDE7477 


.59 


DE 


7631 


.59 


DE 


7672 


.59 


DE 


7689 


.89 


DE 


774i 


.89 


. D 


15907 


.49 


DE 


3964 


.49 



HYDRANT LOVE/WHAT U DONE TO ME 
DOIN WHAT HEART SAYS/nOBOY FAULT 
DROP THAT SACK/FURNITURE MAN 
JAZZ IN BABIES BL/LATE HOURS BL 

WHOOPEE JOHN WILFART 
spr i ng tive/laender 
two canaries/saxophone squit 
OPT IE WILLIAVS 

ECHOS HA BLEW /HAVE A HEART 

TEDDY WILSON 
jumpin on blacks/little things 
exactly like u/boola jaja 

BARRY WOOD 
OLD OKLAHOMA/l WONT TELL SOUL 
GOOD FOR NOTHIN/LAST NITE MIRACLE BR 3823 

YVETTE 



vo 3960 .89 



CO 35232 
CO 35220 



3842 



.69 
.69 



WE THREE/TWO DREAMS MET 

HOT TROMBONES ALBUM 



BB 10872 .59 



FEATURING HIGG 



HARRISON, TEA, MORTON, CBRIEN, 



MOLE, ETC (EIGHT SIDES) 



CO C-46 2.49 



AUCTION 








RAY AVERY THE RECORD 


ROUNDUP 


AUCTION 










1630 SOUTH LA CIENEGE, LOS A I 1 


JGELES 


35, 


CAL IF . 








LOJIS AR STRONG 








JOHNNY DODDS 








VIRGINIA L 1 ST ON 








GEORGIA GRIND/COME SACK 


OK 


8313 


N 


TOO T 1 GH T/p A P A D 1 P ( W A NO ERER5 ) 


CO 


735 


E— 


■j 1 V E IT T . j r L ■' 1 


OK 


8| 37 


G 


LONESOME Bl/kING OF ZULUS 


OK 


41531 


N- 


PERD 100 ST /GATEMOUTH ( WANDERERS ) 


CO 


698 


E+ 


RIGHT KEY WRONG HOLE/BILL DRAW 


OK 


8| 73 


V+ 


SKID DAT DE OAT/jAZZ LIPS 


OK 


8436 


E- 


OH DADDY / 




1 24 / 1 


E 


L 1 TT LE BROTHER 








IRISH BLACK BOTTOM/YOU MADE 


OK 


3447 


N 


LOVELESS LnVE/l9TH ST 8L 


PM 


1 2483 


E 


SHR EVE PORT FAREWELL/CRESCENT 


B8 


10953 


N— 


IU GONNA Gl TCHA/OONT FORGET 


OK 


8343 


■.- 


CLA R | NET WOBBLE /s AN 




3574 


N 


FATE MARABLE* 








whos it/droppin SHUCKS 


OK 


3357 


E 


NEW ST LOUIS BL /OH LIZZIE 


BR 


3585 


E 


P 1 A NO FL AGE/FRANK IE JOHNN 1 E 


OK 


40 1 1 3 


N— 


SUNSET CAFE/BIG BUTTER 


OK 


8423 


N 


joe tunkr bl/when ERaSTUS 


BR 




N- 


MISSISSIPPI JOOK BAND 








SWEET LITTLE PAPA/BIG FAT MA 


> 


8379 


N 


AFTER U GONE/ COME ON 


BR 




E+ 


DANGEROUS WOMAN/BARBECUE BUST 


ME 


6 1 27 1 


N — 


WEARY BL/THATS WHEN ILL 


OK 


8519 


N 


W 1 L l^W A n/mELANCHOLY 




356 7 


N 


SKIMPY WHIPPY /h I TT t N THE 


ME 


6 1 1 65 


E-f- 


ALLIGATOR CRAWL/wiLLIE WEEPEr(lAM 


IOK 


8472 


E 


40 AND TIGHT /p I GGLY W I GGLY 


OR 


8 120 


E 


AL IUL MUUKL 








melancholy bl/keyhole BL O* 


8496 v+- 




BL CLA R 1 NET STOMP /BL P 1 AN0 


V 1 


2 1 554 


E 


BLACK EVIL BL/3WY ST WOMAN 


PM 


1 2 8 1 3 


N— 


POTATO HEAD BL/PUT EM 


OK 


8503 




penc i l papa /swee t lor ra i ne 


V 1 


23083 


N 


JELLY ROLL MORTON 








MONDAY DATE/SUGAR FT STRJT 


OK 


8509 


N 


BOODLE AW SHAKE/CA RPET { D JB ) 




20480 


N 


big fat ham/muddy W ATER BL 


PM 


1 2050 


E 


STRUTTIN WITH SOME BARBECUE 


OK 


8565 


E 


HOUSE REN T RA G/bOMT GIVE (DJB} 


V | 


20420 




M AMAM 1 TA/35TH ST BL 


PM 


1 22 1 6 


N— 


Fl REWORKs/wEST END 3L 


OK 


41078 


N 


HEN PARTY ^l/sK I P SCAT(DJB) 




20649 


N 


THE PEARLS 


GE 


5323 


E— 


ST JAMES INF/SAVE IT (LAM CR ) 


OK 


8657 


E- 


MEMPH IS SHAKE/(mOR TON()( D JB ) 


V 1 


20415 




WOLVER 1 NE/k 1 NG PORTER 


GE 


5289 


G 


WEATHERB 1 RD/DEAR OLD 


OK 


4 1454 


N- 


blue p t a no / 1 nd i go 




1 0238 


N 


KANSA CITY STOM PS / GRANDPA 


GE 


52 1 3 


V 


A INT M 1 SBEHAVI n/bLACK BLUE- 


OK 


4 1 275 


E 


BU CKTOWN STOM P /BLUE W A SHBOA RD 


BB 


8549 




PERFECT RAG/n«9« JOYS 


GE 


5486 


N 


ROCK IN CHAIR/A INT GOT NOBODY 


OK 


8756 


E 


WEARY C | TY/3ULL FIDDLE 


BB 


1 0239 


N 


MAM1 Ta/t 1 A JUANA 


GE 


56 32 


V+ 


EXACT— Y LIKE u/lNDIAN 


OK 


4| 423 


E- 


TOO TIGHt/jOOBER DANCE 


BB 


1 0240 


N— 


STRATFORD HUNC H/SHRE VEPORT 


GE 


5590 


G+ 


BRIDEWELL ST/ST PETER ( N •WELSH ) 


OK 


8372 


V 


HE AH ME TALK 1 n/| SA BELLE 


BB 


i _ i 


N 


TOM CA T/BUCKTOWN BL 


BU 


80 1 5 


V 


HE LIKES IT SL0*(3&s)/(b&s) 


OK 


8355 


.+ 


FLAT "OOT/MAD DOG (BBOTBLACKs) 


CO 


1 433 7 




THE P EARLS/k 1 NG PORT ER 


VO 


1 020 


E 


YOUR REAL SWEETHEART (LDC) 


Ot 


8607 


N- 


MIXED SALAD/| CANT SA/ ( BBOTBL ) 


CO 


1 4465 


N— • 


3HREVE PORT /SHOE SHIVERS DRAG 


VI 


2 1 658 


N 


»jCANT GIVE u anything(ldc) 


OK 


3550 


N- 


LOU 1 S DUMA 1 NE 








OR|G JELLY ROLL Bl/S0MEDAY 


V 1 


20405 


N 


EVERYBODY LOVES BABv(c.WMS) 


OK 


31 81 


E— 


RED ONION ORG/FRANKLIN SR 




20580 


V 


CANNON BALL Bl/gRANOPA 


VI 


2043i 


N 


PAPA DE DA DA(C WMS)/TUXED0 


OK 


32 1 5 


E 


W 1 LL EZELL 








LITTLE DIXIE HOME/THATS LIKE 


VI 


38601 


E+ 


Texas moaner/house rent(c.wms) 


OK 


8| 7| 


7 + 


BUCKET 8L00D /PLA Y 1 N 


PM 


1 2773 


G+- 


TANK TOWN BUMP/BURN IN 1 CEBERG 


VI 


38075 


N— 


CAKE WALKIN BABIES (c/wus) 


OK 


40321 


v+ 


MIXED UP RAG/OLD MILL BL 


PM 


12688 




b i lly goat stomp/hyena 


VI 


20772 


E+ 


TERRIBLE Bl/saNTA CLAUS (ROJB) 


GE 


5607 


N 


GO 1 N SOUTH/ROW D Y MAN ( E « ROB 1 N SON 


1 PM 


1 2724 


N— 


JUNGLE BL/R.M. JONES 


V 1 


2 1 345 


N— 


cake walkin babies/of all(rojb) 


GE 


5627 


E+ 


GEORG 1 A STRUTTERS 








MR JELLY L ORD/wOL VER 1 NE BL 


VI 


2 I 064 


E 


WILDMAN BL/GULLY LOW BL 


jO 


3 193 


N— 


WASNT IT NICE/BLACK BOTTOM 


HA 


3 l l 


E 


DEAD MAN Bl/S|DEWAlK BL 


VI 


20252 


N 


GOT NO BL/WEST END BL 


I/O 


3204 


N 


EVERYBODY MESS AROUND/GA GRIND 




23 l 


E+ 


SMOKEHOUSE BL /STEAMBOAT 


VI 


20296 


E 


SAVOY 3L/WALKIN BABY 


I/O 


32 1 7 


N 


PFfi 1 Ffi HflWFi 1 
ruu LC. u n u w c i_ l. 








FRANC 1 s/pEP 


VI 


38627 


N- 


HOTTER THAN THAT/lM NOT ROUGH 


vo 


3237 


N- 


TRTLE DOVE BL/WALKtN BL 


CO 


1 4456 


N— 


SEATTLE HUNCH/FREAK 1 SH 


VI 


38527 


N 


BASIN ST BL/ST LOUIS BL 


vo 


3008 


E+ 


SKIN GAME/DPI N WRONG 


CO 


1 4473 


N 


DEEP CREAK/RED HOT PEPPER 


VI 


38055 


E 


MAHOGANY HALL St/u CAN 




3055 


E+ 


BESS IE JAC KSON 








WEST END BL/CLIMAX RAG 


BB 


10442 


E+ 


THAT RHYTHM MAn/nO 


V 0 


3205 


N— 


PIG IRON SALLY/MAN BOOGIN ME 


ME 


1 3342 


E 


DIDNT HE RAMBLE/wiNIN BOY 


BB 


10429 


E+ 


tight like this/hear me talkin 


vo 


3303 


E+ 


HOUSE TOP 8L /T N&C 3L 




1 2774 


N— 


H | GH SOC | ETY/THOUGHT 1 HEARD 


BB 


10434 


E+ 


WHEN YOUR SMIL IN/SOME OB 


vo 


3202 


E+ 


JUMP STEADY DADDY/BAD WOMAN BL 


PE 


5 1 258 


N- 


BEALE ST 8L/PEARLS 


Be 


10252 


N- 


Dallas bl/bessie couldnt 


vo 


3025 


E 


dADarriic orcc / <5 uawc cu n d v 

DHnDLLUL D t_ O O / O flH F. L. C.W UnT 




0332 


N— 


FAT FRANCIS/PEP 


SB 


10257 


E+ 


LONESOME RD/SONG ISLANDS 


vo 


3025 


" + 


RECKLESS WOMAN /*T IREO AS 1 CAN 




308 


N— 


BLUE BLOOD Bl/mUSHMOUTH 


BB 


3201 


E+ 


thato my home/id hate to leave 


BE 


10236 


N 


PA PA CHARLIE JACKSON 








DEEP CREEK/BL ISLAND( PARHAM ) 


BB 


5333E-/V 


LOVIE AUS T IN- 








M AXVJ EL L ST BL/aLL 1 WANT 




1 2320 


G 


WILD MAN/jUNGLE BL 


BB 


10256 


N- 


STEP >IN ON 3L/T3AVELIN BL 


PM 


12233 


1 


^ a i tv nn^ Ai aiT i flk'r riTv rti 

OHl_ 1 T Lf U U ( / JHL 1 l_HI*.C 1 1 1 1 ol_ 




1 2236 


G 


BLACK BOTTOM/CHANT 


E B 


10253 


N— 


JAC<ASS BL/FROG TONGUE 


PM 


12361 


V 


BABY OONT BE MEAn/lOOK OUT 


PM 


1 2553 


Gt- 


MOURNFUL SERENADE/RED HOT 


BB 


6601 


E 


JIMMY BERT RAND 








4— | |- 44/\jP THE WAY BOUND 




1 2375 


V 


K«C. STOMPS/GA SWING 


B b 


5109 


B 


BLUES stampede/easy COME 


VO 


1 100 


E 


DROP THAT SACk/aLABAMA BOUND 




12289 


E " 


DR JAZZ/jELLY ROLL 


3 6 


10256 


E 


struggling/little bits 


VO 


1035 


E 


FAKlN BL/SHAKE THAT THING 




1 228 1 


G 


BOOGA BOO/SHOE SH 1 NERS DRAG 


B B 


7725 


N 


J IMW .BLYTHE 








RI INH IFMON 1FFFFRS0N 








BENN IE MOTEN 








HAVE MERCY/HOT STUFF 


VO 


1 1 36 


N 


cnDiwMH cti /pi a ri/ uhdqc qi 
LUn 1 i^liJH OL/ OK nUKOC " L. 


PM 


1 236 7 


V— 


KA TER ST RAG/siSTZR HONKY 


Ok 


8277 


V 


WEARY WAy/pOUTIN PAPA 


vo 


1 135 


E 


DDV Qlil ITUTDM Ql /QAOCTiTD Dl 
JnT OUU 1 flLnni DL/ 13UUO 1 Ln DL_ 




1 2347 


G 


J IM'/Y NOONE 








JIMMY 8L/FAT MEAT GREENS 


PM 


12304 


7+ 


EL E CTR IC CHA'R BL/SEE THAT MY 


PM 


(2608 


V— 


CH | CAGO RHYTHM/GOT M| SERY 


VO 


1267 


V+ 


ORIENTAL MAN/MY BABY 


VO 


1 1 30 




RI inn WIN IF IDHN^DM 

OL 1 NU R 1 LL IC JUnliJUli 








TIGHT LIKE THAT/LETS SOW 


VO 


1238 


N- 


CHICAGO FOOTWARMERS 








NOBODY FAULT BUT MINE /o ARK 




1 4305 


N 


HAMBONE WILLIE NEWBERN 








BROWN BOTTOM BESs/LAOY LOVE 


OK 


86i3 


N 


MOTHERS CHILDREN HAVE HARD TIME 




1 4343 


N 


WAY DOWN IN ARKANSAS/DREAMY EYED 


OK 


8693 


N 


brush stomp/get EM AGAIN 


OK 


8599 


E 


JESUS IS COM [N SOON/ciTY OF 




1 439l 


N ' 


SHE COULD TOODLE 00/wORKHOUSE 


OK 


8740 


N 


MY BA3Y/0RI ENTAL MAN 


OK 


8548 


E 


LORD JUST CANT KEEP F ROM 


CO 


1 4425 


N 


REV. A.W. NIX AND CONGREGAT 


3N 






GRANDMAS 9ALL/BALLIN JACK 


Or 


8533 


E 


JAMES P, JOHNSON 








BLACK DIAMOND EXPRESS TO HELL 


JO 


1998 


V+ 


SWEEP EM CLEAN/MY GIRL 


Or 


3792 


0 + 


WORRIED L ONE SOM E/WEE P 1 NG BL 




3950 


E 


J 1 M MY OBRYAN 1 








CH ICAGO H TTENTOTS 








HARLEM STRUT/( HENDERSON ) 


BS 


2026 


E— 


THREE J 3l/sTEPPIN ON GAS 


PM 


12294 


V+ 


ALL NIGHT SHAG/PUT ME IN THE 




1008 


V 


KEEP OFF GRASS/CAR OL 1 N A 


OK 


4495 


E 


THE JOYS/SW 1 TCH IT 


PM 


12297 


V 


LILLY DELK CHRISTIAN 








TODOLI n/sCOUTI NG AROUND 


OK 


4937 


N— 


WASHBOARD WONDERS 








BABY MINe/lONESOME SORRY 


OK 


3356 


7 + 


SLOWLY MORNING BL /AL L 1 HAVE 




1 4204 


E 


MIDNIGHT STRUTTERS/SHAKE THAT 


SI 


3548 


S 


JUNIE C. COBB 








JINGLES/u GOT TO BE 


BR 


4762 


N- 


YOUNGS CREOLE JAZZ BAND 








dont cry honey/shake jelly 


VO 


1263 


E 


RICHARD 7 . JONES 








TIN ROOF 8L/(M|DWAY) 


CLAX402 72E- 


once or twice/(six jolly jesters) 


. 0 


1449 


N 


|2 st rag/jazzin babies 


GE 


5|74 


E- 


ORIGINAL TUXEDO JAZZ ORCH 








CELEST INS TUXEDO ORCH 








SPANISH SHAWL/29TH DEARBORN 


OK 


8260 


V+- 


CARELESS LOVE/BLACK RAG 


OK 


8l98 


V- 


GIVE ME SOME MORE/lM SATISFIED 


CO 


14200 


N— 


DUSTY BOTTOM Bl/sCACMORE GREEN 


OK 


8431 


V 










WHEN IM WITH u/lTS JAM UP 


CO 


14323 


'.- 


NEW ORLEANS SHAG/w 0NDERFUL 


OK 


8290 


/+ 










DOC COOK 








KIN TO CANT BL/MUSHMOUTH BL 


OK 


8349 


V- 










HIGH FEVER/HERE COMES HOT TOMALI 


OK 


8369 


V+ 


hot ready/lowdown THING 


PM 


12705 


.' 










HIGH FEVER/BROWN SUGAR 


CO 


813 


/+ 


DARK VALLEy/hOLLEYWOOD SHUFFLE 


V 1 


20812 


/+■ 










COW COW DAVENPORT 








NOVELTY BL/TICKLE BRITCHES BL 


VI 


38040 


V 










MY OWN MAN/RI3IN SUN (l.SMITH) 


PM 


12436 


E 


KANSAS SITY FRANK 
















CHARLIE OAVENPORT 








PASS THE JUG/JELLY ROLL ST 


BR 


7062 


M- 










ATLANTA RAG/CHIMES BL 


CH 


50033 


:+ 


LILS HOT SHOTS 

DROP THAT SACK(58)/GA B0B0(56) 


VO 


1037 


V 











35 



ttTTPTTON 


AUCTION 


SALE 










AUCTION 


RAY AVERY 












BEN KAPLAN 








lO-TJ-J O. LH L lC.IVt.uH 








1201 


EAST 22nd ST. 


r r n n \( i v m i n nv 
















25^ PACKING CHARGE ON ALL ORDERS LESS THAN $ 


s no w 1 1 i cu ip p nn dry iimi rcc 


OHHER- 












W 1 SE REQUESTED . 
















rnr n ACTA 1 DC* 








BINS CROSBY 








DM kT" Fl 1 IMHTflN 1 AiirTinw\ 








p i cc oi_ ino/toddli n a long 


BR 


7438 




SUMMERT 1 ME/u MUST HAVE SEEN 


DE 


2 147 


E-H .25 


NO GREATER LOVE/ 1 SNT LOVE STR 




7625v/e 


LOVE OF MY LIFE /m E AND GHOST 


COE 2013 




I HAVE EYEs/FUNNY OLD H I 1_LS 


DE 


2201 


E+l .25 


subtle lament /pussy willow 


BR 


8344 


E 


r» i it /o one hid Cuicuii u 
U 1 u | 1 UUM WK tHIonJUW 


C0E 20|4 




8L SERENADE/lVE GOT POCKETFUL 


DE 


1933 




IWHFN VOilD ^UM IMH /^W^T T MAMflf IR \ 
1nC.ll TUUK OW 1 LI !iUy> Oll-L 1 MhIViH^iJD^ 


BR 


4760 


v+ 


N 1 G HT DAY /ST ORM Y WEATHER 


VI 


247| 5 




RED SAILS SUNSET/BOOTS SAODL 


DE 


616 


N I 80 


DDm ni"iiir to m amd t/im/di c"acc" t~nD 
rnULuuUL IU DL hMU IhN/KLLHOL rUH 


BR 


8526 


E 


HEART OF GOLD /SMOK~ R 1 NGS 


VI 


24315 




MAN AND DREAMs/GO FLY KITE 


DE 


264| 


v+l .00 


DflOTD* 1 T f IOM /C nil* C"T <_l 1 Mr* Tft I nwr 

rUHl MAI 1 LIJN/oUMcinlNb IU LUVL 


BR 


8365 


E + 


GOLD D t G'>ERS/hA 0 PY AS 


vi 24338 \ 




MY REVER 1 e/0LD FOLKS 


DE 


2l23 


E | . |5 


RDAflll M QDflCc / r' A DM 1 '/ A 1 f* A DAI 1 MC" 


BR 


8099 




NI 3HT AND DAY /u GOT ON MY 




24 1 93 




JUNE JANUARY/LOVE JUST 


DE 


3lO 


v i • i o 


Urinrur /asr v u/wc"m h a imt 

WUUL-nC/DMDT nrlLM U HllNl 


BR 


9241 


G 


■ i nwr i ntiiQa /mt* ql im i \j cvv 


VI 


22755 




MEXACALl ROSE/SILVER SAGE 


DE 


2001 


E+i .25 


ROSE RIO GRANDE/GYPSY WI THOUT 


BR 


81 86 


E 


MY TEMPTAT 1 On/lOVE SONGS 


V 1 


2431 2 




BILLY HOLIDAY 








T Dl IliDFTc; <^PAnC"Q/vtrADMIMr* CAD 1 ft 
1 MUM r* C 1 -3 OTHU LO/ T LMKI* 1 IVo rUn LU 


BR 


7752 


N 


■ nan rfrrv 








TELL ME MORE/LAUGH LI FE 


OK 


5719 


G+ ■ 90 


DflCF onrui /flAMT lie - A M TU 1 Mr* 
n U of- r\\J \JN\ f UU IN 1 Ivtt- l\ ri 1 n 1 .»o 


BR 


6265 


E+ 


ttju ■ D Cftdif /ftiif 1 1 TTI C nC 1 MW 
In | r oUrJlj/Ur>4L Ul 1 ll_C LJWi ilr. 


BR 


4828 




LETS CALL WHOLE Th/cA NT TAKE 


THVO 3520 


G+ • 90 


WAY LOw/u CAN COUNT ON ME 


BR 


84| | 


E 


-I0HN BOLES 








WISH 1 HAD/GONNA LOCK HEART 




4238 


v i .00 


fifli rorttii lArc /i t tt cniur 

jHL r KUIVI \JUC_o/ I LL 1 OUnJlj 


BR 


8108 


N 


SONG OF DASN/IT HAPPENED IN 


V 1 


22372 




sol I tude/god bl es child 




6270 


V l .00 


Rnrk'lM Pus i s/r it ^t i hiiiq 

rtU 1 ■!! L-nHlri/C O 1 OI LUUIO 


BRE 2308 


N 


MILLION DR EAMS/r OH A NKE 


VI 


22230 




J 1 M /l 0 V E ME LEA VE M E 




6369 


v+i .25 


maori/when smilin 


BRE 2671 


N 


MILLION DREAMS /ROM A N CE 


VI 


22230 




1 F U WERE ME /EEN 1 E ME EN 1 E 


E 


7554 


G+| .00 


RUNNIN WILD /mOOO | ND I GO 


BRE 1068 


E+ 


•EST N 1 NO /THE ONE Q 1 RL — 


VI 


22229 




BERT W 1 LL ! AMS 








CUr I / ADADV /oi nAtlDI C" 
one 1 IV WnUDT/DL KHMOLL 


BRE 1337 


E 


FflNN IF Ru^WFI 1 








no place like home/2o yrs 




2438 


v+. 30 


RENT PATY BL /DO 1 N V 00M 


b RL 


2365 


N 


I Q M T IT Cu^HF /l nftT 1 m can 
1 3ll 1 II |l"l . . 


BR 


7303 




LAM 1 NS RED HEADS 








UAOI C" II C"l AT SI /DArillPAUl 

nHKLLW r L" 1 DL/rflUUl/rtn 


BRE 2003 


E 


SAY 1 T /NEW MOON OVER SHOULDER 


8R 


6962 




FIVE FEET TWO EYES/GONNA HANG 




483 


v+ . 90 


C| 1 ppfDV i|-inDM/RI TIN 


BRE 


1540 


E 


RO^WFl 1 ^I^TFR^ 








CHARLES TON CHASERS 








LOU 1 SI ANA /YELLOW DOG 


BRE 2650 




iiii i i tti nni i ad Q iqv /c i Mf; 
PI 1 L L 1 JN UULL«n BHoY/OliNw 


BR 


6|28 


+ 


A | NT M 1 SBEHA V | N/M OA N 1 N LOW 


CO 


1 890 


v | .00 


jubille st(wash)/mills 


BRE 


3 878 


V 










DA V r NP0 RT 9l/wABASH BL 




909 


v I 00 


CT lAUrC iMr/CCMT DADTV OI ( 1 ft on 1 

Ol JAWLo IINr/riclNl r M KIT DL \ 1 U Db ] 


JE 


5849 


G+ 


UCD -JAtjIC 1 C «■ * nv /li'u'T iiflDr 
MLn IN M NI C 1 O WrtK 1 / fflM 1 MUnL 


BR 


6576 




JACK TEAGAROEN 








R 0 C K I N C h/t HEM THERE EY ES ( WM ) 


JE 


6 1 91 


G+ 


ni itc i ir o a d a n ■ cr /c\ir sv 


BB 


73l? 


+ 


BLACK BLUE ^ST JAMES INF 




3844 


v | ,00 


TAi/r it rACv/iMAeui/QrwrM Dfti ad 

IHI\C 1 1 LHOT^WHon j/OLvt.l'l rULIK 


CA 


8188 


V 


C«fC"C"T c TO AiinrD / i™ A M T 1 

oWLt 1 b MflrJbLM/ LftU 1 I 


BB 


7332 




BLUES GOT ME/PRELUDE TO BL 




4409 


n 1 .40 


SCATTIN KIT KAT /NEW B 1 RM 1 NGHAM 


MA 


123 


G+ 


SWEE T AS SONG/HALF MOON 


BB 


73l7 




TOMMY DORSEY 








GOT BE RUG CUTTER /e AST ST LOUIS 


MA 


101 


E 


wnri-iT inn riflv/i nur i fifwrn out 


DEE 3695 




LONESOME RD 1—2 


VI 


26508 


v .75 


Hn/ID 1 HH LUVCK/WHO *UO t>L C 


SB 


6782 


N 




0EE 3942 




CAB CALLOWAY 








SL0 P PY JOE/jAZZ LIPS 


BB 


6393 


N 


VR 1 G 1 N I A BRUCE 








WE GO WEL L TOGETHER /s EE M 1 L L 1 




634| 


V+l 10 


■j i ' 1 i i rr/n i nv ci inr 

n 1 on LlrC/U|LIY uLlUC 


BB 


6269 


N 


EASY TO LOVE/GOT U UNDER 


BR 


7765 




FEL IN TIP TOP /WORKERS TRAIN 




5874 


E I .25 


GOT EVERYTHING BUT u/jUSlLEE ST 


6B 


10244 


N 


MAURICE CHEVALIER 








BL IN NIGHT ^S AYS U 


OK 


6462 


E I .25 


norii/rncT HAwcr /c i a u i m r* v ai it u 

OMLHRr MO 1 UHlNL^C./rLWIvlllNLi T UU 1 n 


BB 


10243 


E 


BON SO | R /mAMA 1 N E t 


VI 


22731 




T A PP | N OFF / 




6547 


v+i » i 0 


BLACK BEAUTY/EAST ST LOUIS 


BB 


6430 


V-t- 


HA 3 |T OF Ml NE/ON T DP F THE 


VI 


22007 




CHICKEN A |NT NOTH I N BUT B 1 RO 


OK 


5847 


v+ i . i 0 


kilMQT UA\/r THAT II A M /B A MH A M A D«nrc 
MUol nAvt. 1 MA 1 MAN/BAIMUANA Hflbto 


B8 


7|32 


N 


1FRRV P fll flNNA 








K | CK I N GONG/GOTTA HI DE HO 


PE 


15873 


G +1 .0 


SA RA TOGA SW 1 N G /| TS G LORY 


BB 


10245 


N 


BIRD |N G 1 LOED C A GE/SONG OF 


OK 


4382 




BOBBY HACKETT 








MARCH HOODLUM s/00 1 N VOOM VOOM 


HMV 


6404 N 


c*u pnci cm 
j' ■ i 








8UGLE CALL RA G/DAR DENEL LA 


vo 


5375 


G+l 00 


JUNGLE NIGHTS HA RL EM /SW ANEE SHUF 


HM \j 


6328 


N 


KING FOR A DAy/yOURE A REAL 


VI 


2 1 53 1 




MAPLE C 1 TY FOUR 








SWEET JAZZ/STEVEDORE STOMP 


HMV 


5757 N 


NOEL COWARD 








TIGER RAG/OH MONAH 


PE 


15774 


G+ .75 


MYSTERY SONG/MILLS 


VI 


22800 


E 


an/ little fish/half caste 


V 1 


2281 9 


+ 


RED N ICHOLS 








RIVER AND ME/KEEP SONG YOUR SOUL 


VI 


22614 


V 


□ car DAN IFI ^ 

□ CDC. yn i ill J 








F IVE PENNIES /h A RL EM TWIST 


VI 


2)560 


v+i 00 


BL FEEL 1 NG/STOMP JONES 


VI 


24521 


G-l- 


N 1 1 ■ 1 I u - , J i 1 1 ,_ LU V C LUW t. o 


VI 


22283 


' + 


BUN*'Y BER 1 GAN 








BL AGA I.N/(L0UI S ) 


VI 


22603 


V+ 


youre always i n my arms/i f 


VI 


22132 




WHY DOESNT SOMEBOOY TELl/wHEN 


V 1 


26055 


G+ 75 


MORNING GLORY/jACK THE BEAR 


VI 


25536 


N 


oream shadows/hollywooo 


BR 


7402 




SKYL ARk/l ITTLE COUSI N 


EL 


5020 


V+ .75 


K0K0/C0NGA BRAVA 


VI 


26577 


N 


MARLENE DIETRICH 








tOF TIIRNFR APT F ^1 AP K 








MISS. /FLAM 1 NG YOUTH 


VI 


24057 


V 


NAUGHTY LOLA /FALL 1 NG IN LOVE 


VI 


22593 


E 


ortfi/c im orn if t\ \ k\ t\ c u i i" a n 
HULKo I "4 bLU/bU | IM IJ LnlWAlaU 


DE 


4093 


V 80 


RUMPUS RICHMONO/lN MELLOWTONE 


VI 


26788 


N 


a \rc r Ayr 








wnnn v hf rm a n 








THERE SHALL BE NO N 1 TE/5 OCL WHISTVI 


26748 


N 


TUK VDC i/l ccrs /< 1 III 1 ' 1 » , 
ItllO TM5 K 1 O L.VJM M | Pi 


BR 


7325 




south/fan it 


DE 


3761 


G+ .75 


BL SERGE/jUMPIN PUNK 1 NS 


VI 


27356n/v+ 


rnnnm tc" uv i r\\/c /rm uv i nv/c" 

j . J - 1 C MY LUVt / 1 MY LuVL 


BR 


7821 


+ 


WOODCHOPPERS BALL/BIG WIG 


DE 


2440 


v .75 


AFTER ALL/jOHN HARDYS W 1 FE 


VI 


27434 


N 


WAKE UP AND LOVE/LULL 1 N MY 


BR 


7876 


E + 


BLUE FLAME/FURTRAPPERS BALL 


CE 


3643 


E 1.25 


3 LITTLE WORDS/RING DEM BELLS 


VI 


22528 


G 


SHOOTlN H| jH/oPRcAO 1 N 


ME 


60308 


E+ 


COUNT BASIE 








PORTRAIT BERT WMs/fiO JANGL ES 


VI 


26644 


E 










VOLCANO/ROCKIN THE BL 


OK 


6014 


v+l .Op 


JAPANESE dream/harlemania 


VI 


38045 


G-l- 


ur aiih AiiTA/pnin hmt or i ntjc 
NIC HHU ftU 1 O JULU r l 1 DC. L.U NC 


VI 


45258 


V 


MILDRED 8A 1 LEY 








WHEN BLACK MAN Bl/mOOD 1 ND 


VI 


22587g/v 


PH 1 L HA RR 1 S 








THANKS FOR MEMORy/| SEE FACE 


VO 


3931 


v 1 .00 


UOON OVER CUBA/SEETIN ROCKIN 


VI 


27587 


E 


j ,' j . _ ouNj/turjoi in ii T 


OK 


3583 




BORN TO SW 1 NG/SMALL F RY 


VO 


4224 


V 1 .00 


BLI "BLI P/RI CKS IN BED 


VI 


27539 


N 


h ii nFi^ADnr 








FATS WALLER 








SER NADE SWEDEN/SARGENT SHY 


CO 


35214 


E 


GOODNIGHT MY LOVE/l WANNA GO 


CO 


270M 




FRACTIOUS FINGERING/ 


VI 


25652 


v 1.50 


DUCKY WUCKY/sWING LOW 


CO 


35683 


N 


1 1 RRV Hfll MAN 
L 1 DDI n U l_An M 1 1 








BELLS SAN RACHAEl/bUCK JUMP 


BB 


l i324v/g 1 .50 


SLAP HAPPY/BL LIGHT 


CO 


36128 


N 


SHOO SHOO BOOGIE/GOOD MAN 


BR 


4447 


■' + 


W INTER WEATHER/CLARINET MA RMAL ADE 1 1 469 V+l .60 


CLARINET LAMENT/ECHOS HARLEM 


COC 


6059 


N 


YOUVE GOT THA T TH I NG/f | ND 


BR 


4666 




HANDY/YOUR NOT ONLY OYSTER 


V 1 


24738V /ei .60 


CHECKIN OUT/OOIN VOOM VOOM 


CO 


35208 


N 


CANT WE BE FRI END S /m A YBE 


BR 


4506 


E 


SUGAR BL/SOMEBODY STOLE GAL 


VI 


25194 


N 1.75 


SHADE APPLE TREE/HARLEM SP 


CO 


36195 


N 


BODY SOUL/SOMETH I NG TO 


BR 


3910 




U HAD EVEN IN TO SPARE/SKRONTCHV 1 


25834 


V+I .60 


KILL IN SELF/YOUR LOVE FADED 


CO 


35640 


N 


LOVE FOR SAL E/ONE GOODS 


BR 


6044 




swingin jingle/porters LOVE SONGlOOlO \ 


/ni .60 


ELLINGTON VOL 1 (SALE 8 3.25) 


BR 


8000 


N 


WHAT IS THING CALLED LOVE 


BR 


4700 


E 


CHANT OF GROOVE/COME GET IT 


BB 


1 1262 


E 1 .75 


REX STEWART 








CA REFR EE /wHOS THAT K NOCK I N 


BR 


3667 




SAD SACK SUCKER/RUMP STEAK S ERBB 


1 1296 


v+l .60 


TEA TRUMPETS/BAOKROOM ST 


VR 


618 


• 

E 


MAID OLD MAORIO/lM DO 1 NG 


BR 


4453 




OH BABY SWEET/PAN PAN 


BB 


l 1383 


v 1 .60 


REXAT 1 OUs/lAZY MAN SHUFFLE 


VR 


5|7 


V-t- 


MO AN I N L OW /AM 1 B L 


BR 


4445 




1 WANTS HEAR SWING SONG/lETS 


BB 


1 l l 15 


v 1 .60 


COOTIE WILLIAMS 








pi irtni dm \i t\ fmt i 'in 








ART T A T U M 








SHARPY/BL TO THE EVENING 


VO 


4324 


E + 


KA SHM 1 R 1 LOVE SONG /EL RELtCARIO 


PICTURE 




WHAT WILL 1 DO/BODY SOUL 


DE 


1 197 


G+l .00 


SHE3 GONE/BEAUTIFUL ROMANCE 


VO 


54 1 1 


E+ 


MARGARET WOODROW WILSON 








BENNY GOODMAN 








ALBUMS 








STAR SPA MGLED 9ASNER /MEDLEY 


CO 


1685 


N— 


_OCH LOMOND /CAM EL HOP 


VI 


257|7 


v .75 


ANTHOLOGY WHITE JAZZ (6) 


DE 


1 83 


N 


mae west 








GLENN M ILLER 








ANTHOLOGY COLORED JAZZ (6) 


DE 


182 


N 


IM NO angel/new way to go 


BR 


6675 


N 


ELMERS TUNE/DELILAH 


BB 


1 1274 


n i .25 


FOR DANCERS 0NLY(LUNCEF0PD ) (5) 


DE 


184 


N 


GLORIA SIANSON 








JOE MARSALA 








ALTO SAXOLOGY (5) 


DE 


246 


E 


COME TO ME/|F u HAVENT GOT 


BR 


6167 


N 


slow down/bulls eye 


DE 


37|5 


v+i . 10 


GEMS JAZZ VOL 2 (6) 


DE 


201 


E+ 


L. Ve/sEHENADE 


V 1 


22079 


E 


RUTH ETT ING 








GEMS JAZZ VOL 5 (5) 


DE 


324 


E+ 


SOPHIE TUCKER 








FALLING IN LOVE/WERE U SINC 


CO 


2445 


E 1 .00 


SONNY GREER 








CAUSE 1 FEEL LOW OOWN/YOU 


OK 


41058 


N 


ALL OF ME/HOME 


CO 


7913 


v i .oo 


BEGGARS BL/SAT NIGHT FUNCTION 


CO 


1868 


V 



36 



AUCTION 








SAM MELTZER 








AUCTION 


































737 FOX STREET, BRONX 55, 


NY 












RECORDS SHIPPED RRX COD. NO PACKING CHARGE 


OVER 8 5.00. 25«i UNDER $ 5.00. WINNERS WILL 


BE NOTIFIED. CONDITIONS GUARANTEED 


. LARGEST 




ORDERS GIVER PREFERENCE. MINIMUM BID $ 


.00 . BID BY NUMBER AT LEFT. 
















LOU IS ARMSTRONG 








55. LOUISIANA RHYTHM KINGS 








REX STEWART 








1 .DEAR OLD SOUTHL AND /wE ATHERBIRD 


HRS 1 8 


N 


BABL IN THE JACK 


HRS 


16 


N 


III. MOBILE BAY/LINGER AWHILE 


BB 


1 1057 


N 


BARNEY BIGARD 








JELLY ROLL MORTON 








II 2. some Saturday/subtle slough 


BB 


1 1258 


N 


2. JAZZ ALA CARTE 


\I0 


3842 


N 


56.TIA juana/mamam 1 TA 


GE 


5632 


E 


TEA TRUMPETs/bACKROBM R0MP(ll3) 


VO 


3831 




3. DRUMMERS DELIGHT 


vo 


3985 


V 


57, TOM CAT BL/BUCKTOWN 


GE 


5515 


U 


REXATI OUS/lAZY MAN { l 1 4 ) 


VO 


3810 


N 


4.caravan/stompy JONES 


vo 


3809 


e: 


58. BIG FT HAM/jELLY ROLL BL 


GE 


5552 


V 


Il5. SUGAR HILL SHIM SHAM,/|N MY HEARVC 


3844 


E 


5. HONEY HUSH/jUST ANOTHER DREAM 


OK 


5363 


N 


59. STRATFORD HUNCH/sHREVEPORT 


GE 


5590 


v 


SWEET PEA (SPIVY) 








6.FR0LIC SAM 


VA 


525 


\H 


60. PERFECT RAg/n.O.BL 


GE 


5486 


G+ 


II6.DAY BREAKIN Bl/lEAVIN BL 


VI 


23361 


V 


7. BROWN SUEDE/c BLUES 


BB 


1 1581 


N 


6| .KANSAS CITY ST/GRANDPA SPELLS 


GE 


521 8 


G 


MONTANA TAYLOR 








8. LULL AT DAWN 


BB 


10981 


N 


62. KING PORTER 


VO 


1020 


, 


II 7. DETROIT ROCKS/HEAD RAG HOP 


HRS 


N 


9. LAMENT JAVANETTE 


BB 


1 1098 


N 


TOOTS MONDELLO 








THOMAS * DEV 1 LS 








CALIFORNIA RAMBLERS 








63. LET ME DAYDREAM/JUST BECASE 


BR 


8094 


N 


IIS. BOOT IT BOY/SHO IS HOT(TEST) 




3100-IN 


10. SHEIK ARA9Y 


VO 


14275 




64. AT SUNDOWN/lLL SEE U 


BR 


8105 


'i 


COOTIE WILLIAMS 








1 1 .THE PAYOFF 


CO 


1642 


\J 


MEZZ MEZZROW 








1 1 9. DOWNTOWN UPROAR/BL REVERIE 


VR 


527 


V 


1 2. FAREWELL BL 


DO 


40|4 


V 


65. COME ON WITH COM ON 1-2 


BB 


10085 


'■i 


1 20. THE BOYS FROM HARLEM 


VO 


4574 


E 


CHARLESTON CHASERS 








66.35TH CA LUMET/JLO FASHIONED 


BB 


10251 


N 


|2|. LESSON IN c/OLD MAN RIVER 


VO 


4086 


E 


t 3. MELANCHOLY BABY (LAM CR ) 


CO 


1335 


V 


67.AP0L0GI Es/SEND 1 NG VIPERS 


BB 


1 0250 


F 


1 22.GALAVANTI n/mOBI LF BL 


VO 


4636 


N 


CHARLES CREATH JAZZ 0 MANIACS 






68. EVERYBODY LOVES BABy/lADNIER 


IB 


10090 


N 


1 23 .BEAUT 1 FUL ROMANCE/SHES GONE 


VO 


54| | 


V+ 


1 4. GRANDPA SPELLs/wAU DOWN 


OK 


8257 


V 


69.REV0LUTI ONARY BL/GETTIN TOGETHERBBI 0088 


E 


1 24. BLACK t r, • TY/N IGHT SONG 


VO 


4958 


V+ 


CHOCOLATE DANDIES 








70. ROYAL GARDEN Bl/laDNIER 


BB 


10087 


V+ 


1 25 . SHARP 1 e/bL IS EVENING 


vo 


4324 


E 


1 5. CRAZY CAPERS/ONCE UPON TIME 


MR 


16 


rj 


DICK MC DONOUGH 








|2C.| CANT GIVE U ANYTHING BUT LOV'EVC 


3890 


N 


BILL COLEMAN 








7| .SENTIMENTAL MOOD/AINT IT RITE 


ME 


61 102 


N 


I27.CHASIN CHI PP Iff /SWING PAN ALL VO 


4425 


G+ 


16.91 G BOY 8L 

r 


VI 


26223 


N 


IRVING MILLS ( HT GANG) 








I28.ECH0S OF HARLEM 


vo 


3960 


V 


1 7. BABY WONT U PLEASE COME HOME 


SW 


14 


H 


72. WHAT A NITE 


BR 


4998 


- 


1 29. VEST END BL 


OK 


6370 


N 


l8BtLL ST BL 


SW 


22 


N 


MIDNIGHT ROUNDERS 








l3C.PL IN NY CONDITION (lC) 


OK 


6224 


N 


BUDDY CHRISTIANS JAZZ RIPPERS 






73. bull fiodle rag/shake shimmyTest 2422-1 


N 


I3I.TCP BOTTCm/tOASTED PICKLE 


OK 


6336 


N 


19. S. RAMPART ST BL (CHIP TO 1ST) 


PA 


75|8 


V 


GEORGE MC CLENNONS JAZZ DEVILS 






CLARENCE WILLIAMS 








EDDIE CONDON 








74. BOX OF EL/DARK ALLEY BL 


OK 


8|43 


N 


1 32. PAPA DE DADA/ORIG TUXEDO RAG 


OK 


8215 


G 


20. HOME COOKING/THE EEL 


BR 


6743 


N 


J IMMY NDONE 








WOLVERINES (BIX) 








21 .THATS SERIOUS THING (2) 


VI 


38046 


V 


75. ON REVIVAL DAY 


VO 


1506 


V 


I33.R 1 VERBOAT SHUFFLE/LAZY DADDY 


HRS 


N 


DIXIE RHYTHM KINGS (SIMEONE) 






76. Chicago rhythm/got A MISERY 


VO 


1267 


V 


D ICKY WELLS 








22. THE CHANT 


BR 


71 1 3 


N 


J7»san (test press) 




5903 


N 


I34.DI CKY WELLS BL 


VI 


273 1 e 


E 


23. EASY RIBER 


BR 


7|27 


N 


ROMEO NELSON 








BUGLE CALL PAG/BETWEEN DEVIl(|35) VI 


26220 


E 


24. BAD FOR YOUR SOUL 


BR 


7536 


N 


78.1129 bl (midnight special)test 




5257 


N 


I36.HAIJGIM AROUND/FOUND BABY 


VI 


266 1 7 


E 


WILMER DAVIS ( DODDS ) ( VERY RARE 






NEW ORLEANS OWLS 








1 37. LADY BE GOOD 


SW 


10 


t: 


25. REST HIPS/GUT STRUGGLE( TEST PRESS 


1034 


N 


79. MEAT ON TABLE/p 1 CCADI LLY 


CO 


1 158 


V 


1 ?£ ■ JAPANESE SANDMAN 


sw 


27 


N 


WALTER DAV IS 








NAPOLEONS EMPERORS 








I39.HOT CLUB EL 


SW 


3 


V 


26. FOUR FT ELEVEN 


BE 


8574 


N 


80„MY kinda love/mean to me 


VI 


3 057 


V 


FATS WALLER 








DUKE ELLINGTON 








F RANK IE NEWTON 








I40.NUMB FUMBLING (SOLO) 


VI 


25338 


E 


27.HARLEMAN IA 


VI 


33045 


V 


8| .MINOR JIVe/rOMPIN 


BB 


1 01 86 


E 


|4| . 1? ST RAG ( 1 " CR ) 


VI 


25087 


V 


28.S0LITUDE/DELTA SERENADE 


VI 


24755 


N 


82.who/bl my baby gave 


BB 


|02|6 


N 


1 42 .AFTER U GONE 


VI 


2237 1 


11 


29.PERD IDo/RAI NCHECK 


VI 


27880 


N 


83.R0SETTA/W0RLD WAITING 


BB 


lOl 76 


N 


|43. AFRICAN R 1 PPLES/BAS IN ST (s0l)bb|0||5 


N 


30. TRUMPET SPADES 


BR 


7752 


N 


NORK 








1 44. VA LEI Jl 1 NE STOMP (SOLO) 


BB 


10263 


N 


3I.IN A JAM/UPTOWN DOWNBEAT 


BR 


7734 


N 


84.DADA STRAI n/3H 1 MMESHEWA BBL E 


&E 


5106 


V 


145. SWEET SAV SUE ( SOLO ) 


BB 


10264 


N 


32. EAST ST LOUIS TOODLE 


BR 


3490 


V 


85.PANAMA/TI GER RAG 


GE 


4968 


V 


146. SERENADE WEALTI<\ WIDOW 


BB 


10262 


N 


33. SOPH LADY 


BR 


6600 


V+- 


86. MAPLE LEAF RAG/SWE ET LOVIN MANGE 


5|04 


V 


1 47. HARLEM FUSS/MINOR DRAG 


BB 


10185 


E 


34. AWFUL SAD/LOUISIANA 




4| 10 


v 


87. THATS PLENTY/TIN ROOF 


GE 


5105 


F 


1 48. ALL 1 GA TOR CRAWL (SOLO) 


. BB 


10098 


N 


35. MOOD 1 NDI GO/SOLI TUDE (SOLO) 


MA 


102 


N 


88. WEARY BL/WOLVERINE BL 


GE 


5|02 


V 


|49.eABY BROWN/SAN ANTON 


BB 


|0|0& 


N 


36. HOT BOTHERED 


PAE 


582 


N 


89. M 1 LENBERG JOYS 


GE 


521 7 


V 


I50.STAF DUST/KEEP OUT M ! SCh( SOLO ) E>B 


1 0099 


N 


37. SAT NITE, FUNCTION(LC )(gREFr) 


CO 


2833 




90. CLARINET MA RM 


BRE 2209 


N 


|5|. GEORGIA ON MY MIND ( SOLO ) 


VI 


27765 


N 


"S8. GOOFUS F IVE (ROLL INI ) 








9i .eccentric/farewell BL 


BRE 221 1 


N 


T 1 MY FARHAM 








ARKANSAS Bl/wANG WANG BL 


VO 


3 1 38 


E 


92. BUGLE CALL BL 


BRE 22|3 


E 


|52. CATHEDRAL BLUES 


VI 


38l 1 


V 


LIONEL HAMPTON 








KING OLIVER 








1 53, JUNGLE CRAWL 


BB 


5 146 


V 


39. SWEETHEARTS PARADE 


VI 


26209 


E 


93.SNKE RAG 


GE 


5|84 


E 


BENNY GOODMAI. 








40. DOWN HOME JUMP 


VI 


261 14 


N 


94. CANAL ST BL/jUST GONE 


GE 


5|33 


E 


1 54. CLARINET IT IS 


PANA 


250 1 7 


E 


4| .STOMPOLOGY 


V 1 


25601 


V+ 


95. CHIMES BL/FROGGY l" CR 


GE 


5|35 


G-t- 


1 55. TEXAS TEA PARTY 


CO 


3 167 


E 


42.DI NAH/SI NGI N TE BL 


VI 


26557 


N 


96. CAN 1 TELL u/SAM 


VI 


38049 


E 


|56. GOTTA RI-GHT TO SING BL 


CO 


3 1 66 


E 


ART HODES 








97, STRUGGLE BUGGY 


VI 


23001 


V+ 


1 57.MUSCRAT RAMBLE 


bre5003i8m 


43. SNOWY MORNING BL 


BW 




N 


98.FREAKI SH L 1 GHT BL 


VI 


38521 


E 


iTE'. JUNK MAN 


CO 


2892 


E 


HIGHTOWERS NIGHT HAWKS (RARE) 






99.KASSIN TIME WITH ME 


VI 


2301 1 


V+ 


1 59. BUGLE CALL RAG 


CO 


2958 


V+ 


44. BOAR HOG BL l" CRACK) 


PA1 


8045 


V 


100. SHAKE IT BREAK IT/STINGARE£ BLV 1 


23009 


E 


I60.MUSIC HALL RAG 


CO 


301 1 


E 


J.C. H IGG 1 N80THAM 








1 Ol .RHYTHM CLUB STOMP 


VI 


38|37 


V+ 


I6I.TAPPIM THE BARREL 


CO 


2656 


E 


45.H 1 GG 1 NBOTHAM BL 


HRS 




TED PETERS (VERY RARE) 








1 62. GEORGIA JUBILEE 


COF 


759 


N 


JOHNNY HODBES 








I02.WHAT A MAN (D0DDS)/GA M A N ( OL 1 VE R )TEST 




163. EIG JOHN SPECIAL 


VI 


25871 


V + 


46. PASSION FLOWER 


BB3008I 7 






1006 


N 


1 64 . SUGAR FOOT STOMP 


V 1 


25678 


V- 


47. GOOD QUEEN BESS 


BB 


1 1 1 |7 


N 


QUINTET HOT CLUB FRANCE 








1 65. WHEN BUDDHA SMILES 


VI 


2525S 


N 


48. SQUATTY ROO 


BB 


1 1447 


N 


103. GA ON MIND 


VI 


26578 


N 


|66. KING PORTER STOMP 


V 1 


25090 


VH- 


EOMONIA HENDERSON (DODDS) 








I04.MIN0.T SWING/VIPERS DREAM 


VI 


26281 


N 


167. ROLL EM 


VI 


25627 


v+ 


49.WH0S GONNA BE YOUR LOVIN MAN/ 








|05. ORIENTAL SHUFFLE 


VI 


26506 


N 


166. BLUE SKIES 


V 1 


25860 


V+ 


NOBODY ELSE WILL DO (TEST PRESS)|0|5 


N 


I06/SWING WITH DJANGO 


VI 


27272 


N 


I69.LCCY k SOUL (TRfo) 


VI 


251 |5 


N 


CHARLIE JOHNSON 








BILLY BANKS RHYTHMAKERS 








170. LADY BE GOOD (TRIO) 


VI 


25333 


N 


50. BOY IN BOAT 


BB 


10248 


N 


107. TAKE IT SLOW EASY/BABY PLEASE 


HOHRS |7 


N 


1 71 .PICK A RIB (quIn) 


VI 


26166 


E 


BUNK JOHNSON 








BOYD SENTER 








172. DIZZY SPELLS (QUAt) 


VI 


25822 


V+ 


5|. FRANKLIN ST BL ( TEST ) N 


Jl 


SALE$ 


1 


1 08.C0PENHAGEN/8EALE ST BL 


BB 


6050 


E 


1 73 .BLUES IN YOUR FLAt(qt) 


V 1 


26044 


V 


KANSAS CITY STOMPERS (MELROSE) 






CLARA SMITH 








174. CPUS 3/VsUGAR (QT) 


VI 


26240 




52. GOOD FEEL IN BL 


BR 


7091 


V+- 


109. TROUBLESOME Bl/ 


CO 


14256 


E 


1 75.avalon/man 1 love (qt) 


VI 


25644 


N 


TOMMY LADNIER 








THE TRAVELERS ( DORSEY ) 








i 76. sweet sue (2' cr) 


VI 


25473 


E 


53. REALLY THE BL 


BB 


10089 


N 


I iO.nreakaway/baby oh where 


OK 


41260 


V 


1 77. 1 CRIED FOR U (QUIN) 


VI 


26139 


N 


54. WEARY BL/jADA 


BB 


10086 


V+ 










1 78. TEA FOR TWO (qt) 


V 1 


25529 


to 



37 



AUCTION 



TONY PIRAK 



AUCTION 



ioi4 6th st.,anacortes, wash. 

continuing the auction of rare discs 8y great artists of the early thirties. all foreign records are originals issued during the 
same period as the american versions of the same • next month features duchin, vallee, reisman, wh iteman, ted lewis, hal kemp, 
freddy martin. 



I SHAM JONES 

RIDIN ROUND IN RAIn/gOT JITTERS V| 24628 N 

SUMMER NIGHTS DREAm/sOMEDAY WEEL VI 24| 29 E 

ONLY FOUND U FOR SOMEBODY VI 24| |6 N 

NEVER HAVE TO DREAM AGA I n/sUNSET VI 24|34 E 

LITTLE Man/* ARM SPOT HEART VI 24633 E 

LOUISVILLE LADy/| COULDNT TELL VI 24366 N 

WHERE/lITTLE ST WHERE OLD FR VI 24 1 6 1 N 
DARLING (WITH *. HERMAN VOC ) /MENT I ODE 6|0 E 

NO HARM WISHING/SQUARE DANCE DE 338 N 

STRANGERS/TIRED BR 6262 E 

STARDUST/TREES BR 4856 E 

SENTIMENTAL GENT FROM GA VI 24099N 

YOU RE OK DE 220 N 

SUNDAY IN CAROLINA/l DO VI 24295 N 

TREE *AS TREE/CA ROL INA LANE VI 24246 N 

SITTIN ON LOG VI 24496 N 

so shy/sno*flakes VI 24497 N 

YOUSE WELCOME/BUBBLES IN WINE VI 24589 N 

MUSIC MUSIC EVERYWHERE VI 24093 N 

FOR ALL WE KNOW/SAY IT VI 24l 34 N 

FUNNY TO EVERYONE BUT ME VI 24606 8 

SILENT LOVE/l CANT BELIEVE ITS BR 6308 E+ 

EYES WIDE OPEN/DO I VI 24643 N 

SOMETHING TELL ME/BESTOR VI 24350 N 

DANVING ON CEILING/2 LOVES BR 6247 N 

PAST 'RESENT FUTURE/uPTOWN LOW VI 24409 N 

WHATS THE USE/SONG WITHOUT NAME BR 48|0 E 

SWEET GA BR0WN(MILEY ?) BRE 29l 3 E 

HAD TO BE u/AFTER STORM BRE 261 4 E 

IM WILD ABOUT HARRY(M HARRIs) BR 2309 E 
LEE WILEY 

MOTHERLESS CHILD/CARELESS LOVE DE 1 32 E4 

100 YRS FROM TODAY(G GRAY) BRE 1738 N 
MAURICE CHEVALIER 

1 WAS LUCKY HAPPY SONG VI 24882 N 
MIMl/APACHE SONG VI 24063 N 
RHYTHM RANGE/WORDS VI 24874 N 
HELLO BEAUT I FUL/wALK IN BABY BACK VI 22634 E 
MY LOVE PA = ADe/nOBODY US I NG IT VI 22285 E 
U BROUGHT NEW KINDA LOVE V| 22405 E 
L OUISE/wA CHER IE VI 2|9|8 E 
SWEEPING CLOWDS AWAY VI 28378 E 

NOEL COWARD 

LOVER OF DREAMS/MAD DOGS VI 24332 N 

MRS WORTH I NGTOn/wEWERE SO YOUNG VI 25023 

LITTLE JACK LITTLE 

NOTHIN BUT BEST/u OUGHTS BE PICS COE 740 E+ 

STAY SWEET AS ARE/(h KING) COF 1668 E 

2 FLYS LUMP SUGAR/OLD COZ 758 E-l 
ANYTHING YOUR LITTLE HEART DES I RESBB 5043 N 

RED MC KEflZ IE 

JUST FRIENDS/TIME N HANDS CO 2556 E 

IM SORRY OEAR/l FOUND U CO 2587 E-l 
( ALL HI S DECCAS NEW ) 

BICK POWELL 

POCXET FULL DE 6l 2 N 

LONELY LAje/rD IS OPEN BR 6685 E 

POP GOES HEART/HAPPINESS AHEAD BR 6979 N 

2 SIDES TO EVERY STORY DE 924 N 

fair warmer/fiq rito BR 6858n /v 



B 1 NG CROSBY 

WISTFUL BLUE/LONELY EYES VI 204|3 E 
BL OF NIGHT/SORRY DEAR BR 6226 El- 
PL EA SE/wALTZ I NG IN DREAM BR 6394 V 
SURRENDER DEA /lA ROSITA V| 226l 8 N 
MUST BE TRUE/SURRENDER DEAR VI 25280 N 
HOME ON RANGE/LAST ROUNDUP BR 6663 E— 
HONEYS LOVIN «MS/M1LLS BROS BR 6525 E- 
HAPPY GO LUCKY/CABIN COTTON BRE I 326 N 
LOVE U FUNNY THI NG/SHADOWS ON BRE I 304 N 
WITH SUMMER COMING/LOVE ME BRE I 349 N 
DAY U CAME AL^NG/l GUESS ITS BRE 1 597 £+■ 
PL£ ASe/hERE LIES LOVE B RE I 3 80 N 



SPEC I AL 



AUCT I ON 



SPECIAL 



(MINIMUM BID 8 |5) 

THIS IS EITHER A GERMAN OR BELGIUM RECORDING. 

THE LABEL READS B I NG CROSBY MIT DUKE ELLING 
TON TANZ ORCH. BR 9754. T«0 CIGARETTES IN THE 
DARK/VERY THOUGHT OF YOU. E CONDITION. ( I BE- 
LIEVE THE ELLINGTON IS A LABEL ERROR.) AL- 
THOUGH THE ORCH SOUNDS LIKE THE ONE ON DE 245 
IT IS STILL PLAYED AND SUNG DIFFERENTLY THAN 
THE AMERICAN VERSION. 



YOU TOOK ADVANTAGE OF ME/lOUSIANA VI 25369 N 

DID U EVER SEE D REAM W ALK I NG BRE I 400 E 

HOW DEEP OCEAN/lLL FOLLOW BRE l'42l E 

AT YOUR COMMAND/MANY HAPPY RET BRE I 1 82 N 

LETS T3Y AGAIN/*ALTZING DREAM BRE I 374 N 

LOVE THY NEI GHDOR/RIDIN A ROUND BRE I 786 E 

temptation/well make hay bre 1886 E- 

CANT WE TALK IT tVEr/d|NAH BRE |27| E 

SNUGGLE ON SHOULDER/NOW THAT BRE I 285 E 

SPEC I AL 



AUCT ION 



SPEC IAL 



SPEC I AL 



AUCT ION 



SPEC IAL 



DON BE3T0R 



MINI MUMN SID t 5.00 

■ HEN TOMORROW COMES/VALLEE GO IN TO 

HEAVEN ON A MULE HMV 6475 N 



BABY ROSE MAR IE 

PICTURE OF THE MAN/TEASING ME VI 22960 N 

oim oim dawning/all THAT MATTERS VI 24|96 N 

TOM COKLEY 

RA I NBOw/ORO I NARY HUMAN VI 25053 N 

EAST OF SUN VI 25069 N 

RHYTHM IS BUSINESS/SIMPLY VI 25062 N 

ILL STRING ALONG WITH u/FAIR AND VI 24600 N 
CATALOGS 

RARE 1935 VO CATALOGS RACE 4 POP N 



(MIN. BID $ 15.00) 

TAKEN FROM THE SOUND TRACK OF EARLY MACK 
SENNETT SHORTS ( 1931-32). TUNES ARE 
AUF Wl EOERSEHEN/EVERYT IME MY HEART BEATs/ 
IN MY HIDEAWAY/BETWEEN DEVIL AND DEEP BL 
SEA/LOVABLE. E CONDITION. 

YOUNG HEALTHY/GETTI NG HABIT WITH ME 
THIS IS ON FRENCH BR 500229 ACC. BY LOM BAROO 

BRF500229 E 

LOUISE/SO THE BLUEBIRDS COE 5457 N 

CABIN IN PINES/SHADOW WALTZ BRE |557 E 

PLAYING WITH FIRE/TRY LITTLE BRE 1 444 N 

MY WOMAN/PARADI SE BRE 1 308 N 

WRAP TROUBLES IN/jUST GIGOLO HMV 970 N 

BROTHER CAN U SPARE DIMe/yOiR BRE 1 434 E 

DOWN OLD OX RD/TORCH SONG BRE 1 563 N 

LORD U MADE NIGHT TOO LONG BR 20109 E 

GOT WORLD ON STRING/MILLS BRE 1 53 1 E- 

MY LOVE/wOULD IF COULD BRE 1 649 N 

JUNE JANUARY/EVERY BREATH BRE 195 1 N 

LOVE IN BL/STRAIGHT SHOULDER BRE 1 850 E 

BENCH IN PARk/haPPY FEET COE CB86 E- 

GET OUT UNDER/ROSES COE 566l E- 

WITHOUT SONG/GREAT DAY COE I|6 E- 

MARIANNA/LOVER COME BACK COE 5377 E 

VALENCIA/NO MORE WORRYIN VI 20007 N 

THE CALI NDA/SHILKRET VI 20882 E+ 

DANING TAMBORI NE/SHADY TREE VI 20972 E 

LONELY MELODY/RAMONA VI 2|2|4 N 

VICTOR YOUNG (MINIMUM BID 8 5.00) 

CROSBY COLUMBO AND VALLEE/NOWS THE TIME TO 

FALL IN LOVE BR 6293 E+ 

GEORGE OLSEN 

AH BUT I VE LEARNED/DARKNESS V| 24|66 N 

UNDERNEATH ARCHES VI 24229 N 

LISTEN TO GERMAN BANd/nOBLE VI 24090 N 

BEST THINGS LIFE FREE VI 20872 E 

ALL AMERICAN GIRL/SO TO BED VI 24|25 E 

PLAY FIDDLE PLAY/rOCKABE MOON VI 24| 65 N 

AT SUNDOWN/HERE OR THERE VI 20476 E 

IM ALL ALONE WITH CROWD/gOSH DARN VI 22994 N 



VI 24025 N 

VI 22975 N 

VI 22929 N 

VI 24815 N 

VI 24630 E+ 

BR 4747 E 

BR 4| 73 N 

BR 3889 E 

BR 3501 E 

BR 4035 E— 



PCIKENS SISTERS 
SAN/SWEET GA FROWN 
LORD U MADE NIGHT TOO LONG 
WAS THAT HUMAN THING TO DO 
LOVE JUST ROUND CORNER 

HIGH HATTERS 
LITTLE MAN BUSY DAY/RIP TIDE 

HARRY RICHMAN 
SUNNY SIDE ST/EXACTLY LIKE U 
U CREAM IN COFFEE/BUNNY 
LAUGH CLOWN LAUGH/ROLL ALONG 
WHAT DOES MATTER/ALL DEPENDS 
CANT GIVE U ANYTHING/KING FOR 
I LOVE PARAD£/u ARE TOO BEAUTIFUL CO 270l E- 

ARTHUR TRACY 
MY MOM/WHEN PAL BIDS PAL BR 6298 E+- 

TROUBLE IN PA RAD I SE/SLEEP BR 66 1 4 E+ 

AUF WEI DERSEHEN/K I SS ME GN I TE BR 6279 E+ 

IM ALLDRESSED UP BROKEN VI 22768 E 

EAST SUN/wHEEL WAGON DE 606 N 

stranded/nirewana DE |3|7N 

I LOVE U TRULY/WEPRY FOR U DE 438 N 

home/save LAST DANCE FOR ME BR 6227 E- 

MASKARADE/SOMEWHERE INW EST BR 6346 N 

LAST ROUNDUP/YR AGO TON I TE DEE 37| I N 

MAY I /GOODNIGHT LOVELY LADY DEE 5072 N 

REFLECTIONS IN WATER/GYPSY DEE 3608 N 

MILLS BROTHERS (SEE CROSBY ) 
ANY TIME ANY WHERe/fDDLIN JOE BR 6490 E 

PENNIES FROM HEAVEn/sWING FOR SAL DE I 1 47 N 
BUGLE CALL RAG/oLD MAN MT BR 6357 V 

JUNGLE FEVER/FOUND NEW BABY BR 6785 V+- 

WHATS REASON/DONT BE AFRAID DE 402 E 

IDA SWEET APPLE/MY GAL -SAL DE 1 65 E 

GIT ALONG/DIRT 01 SHIN DAISY BR 6430 E 

SWEET SUE/ST LOUIS BL BR 6330 E- 

LOBELESS LOVE/CHI NATOWN BR 6305 E- 

LAZY BONES/NAGASAKI BRE I 800 N 

D | GA D I GA DOO/CANT GIVE U ANY BRE I 520 N 

DO IN NEW LOWDOWn/e. WATERS BRE I 5 1 3 N 

DUKE ELLINGTON 
NOBODY SWEET/TIGER RAG BRE I 229 N 

FRED ASTA IRE 
NONSTR I NGS/CHEEK TO CHEEK 
THE P I CCOLI Nl/REI SMAN 
I SNT IT LOVELY DAY/TOP HAT 
CHANGE PARTNERS/COLOR BLIND 
BEGINNERS LUCK/CANT TAKE 
FINE ROMANCE/BO JANGLES 
CHANGE PARTNERS/COLOR BLIND 
WHITE HEAT/HO OP s(w| TH ADELE ) 
HEART OF STONE/rEISMAn(aRLEN VOC ) VI 24358 E 
GOLD DIGGERS SONg/nOBLE HMV 6376 N 

MORTON DOWNEY 

WAdASH MOON/MOTHERS APRON VI M22673 N 

WHEN DAY IS DONE/pERFECT DAY DE 1 738 N 

RAYMOND PAIGE 

NOTHIN BUT NOTH I n/taLK I N TO MY V| 24703 N 

WHITE GARDENIA/PRINCE CHARMING VI 24857 N 

GRASSHOPPER AND ANTs/wiE HEN VI 246l 6 E 

BERT LOWN 

IT WAS NGHT IN JUNE/l SNT IT SB 5067 N 

moonstruck/here U COME WITH BB 5099 N 

GRAC IE F I ELDS 

RED SAILS SUNSET/SA JOE REX 8585 E 

PAINTIN CLOWDS SUNSHINE HMV 329l N 

LOVE WONDERFUL LOVe/l'IL CATCHY HMV 8208 N 

CODE IN MY NOSE/WHEN SUMMER IS HMV 3092 N 

PINKY TOMLIN 

WHATS REASON/DONT BE AFRAID BR 7355 E+- 

SWEET/THATS WHAT U THINK BR 7502 N 

TROUBLE WITH ME IS u/wORK BR 7525 N 

SITTIN BULL AND SH I Ne/rA GT I ME C0WB0YBR7378 N 

OBJECT MY AFFECT I ON/GRI ER BR 7308 E 

CARL BRISSON 

TWO HEARTS/GIVE HER KISS DEE 3968 E 

MELT ON— SUMMER NIGHT/HOUSE LOVE DE I 093 N 



BRE 7486 E 
BR 7488 N 
BR 7487 N 
BRF 500747 E 
BRF 500723 E 
VOE 500E 
BR 81 89 E 

VI 22863 N 



38 



SALE 




FOR THE FINEST STOCK OF JAZZ RECORDS IT'S 


THE 


SALE 






THE JAZZ RECORD CORNER 








782 EIGHTH AVE. ( NEAR 4e™ ST) NEW YORK CITY 


NY PHONE PLAZA 7-7426 






ON MAIL ORDERS ACCOMPANIED BY CHECK 


OR MONEY ORDER TOTALING S3. 00 OR MORE WE WILL FRE PAY THE SHIPPING CHARGES. WE ALSO 


SH IP COD 




FAST, SAFE, INSURED. SHOULD ANY DISC BE OUT OF STOCK A CHECK IS SENT FOR THE UNUSED PORTION OF YOUR ORDER. HOWEVER WE 


F ILL 




ALMOST EVERY ORDER COMPLETELY. 
















FOR TRAD IT 1 CNAL MUSIC COLLECTORS 




FOR CONTEMPORARY MUSIC 


COLLECTORS 


FOR SWING COLLECTORS 






NEW RELEASES 




CHARLIE PARKER 






JOHNNY HODGES 






GRAEM.E BELL AUSTRALIAN JAZZ BAND 




M ILESTONES/S 1 PP 1 N AT BELLS 


SAVOY 


1 .05 


pyramid/empty ballroom bl 


PAE 


1 .05 


SOUTH/SH 1 MWESHAWABBLE JA 22 CORNER 1 


I.C5 


PARKERS M00D/8AR8AD0S 


SAVOY 




DJANGO REINHARDTS (FRENCH SWING) 




BIG CHIEF BATTLE Ax/yAMA YAMA JCi 2 


1,05 


BONGO BOP/EMBRACABLE U 


D 1 AL 


1 0^ 


BLUE LOU/R VINGT SI X 




1 .05 


USUAL DISCOUNT TO DEALERS ON JAZZ CORNER 


RED CROSS/TINYS TEMPO 


SAVOY 


1 .O 1 ^ 


BLUES CLAAR/CANT GIVE U ANYTHING BUT 


1 .05 


RECORDS. FAR WEST DEALERS CONTACT YERBA 


ORN 1 TIICLOGy/n 1 GHT TUNISIA 


D 1 AL 


1 0^ 


LOVER MAN/HOW HIGH THE MOON 




1 .05 


BUENA MUSIC SHOP FOR JAZZ CORNER SIDES. 




BIRD LORE/( SONNY BERMAn) 


DIAL 


I 05 


babik/porto CABELLO 




1 .05 


TURK MURPHY BAY CITY STOMPERS 




SILLIES BOUNCE/NOWS THE TIME 


SAVOY 




IMPROVISATION # 3 1-2 




1 .05 


KC MAN BL/SHAKE THA» ThING JM 3| 


1 .05 


DEWEY SQUARE/THIS IS ALWAYS 


DIAL 


1 05 


NUAGES/DARK EYES 




1 .05 


BROTHER LOWCOWn/yELLOW DOG BL JM 32 


1 .05 


buzzy/donna LEE 


SAVOY 




TFAPS/AT JIMMYS BAR 




1 .05 


BOB SCOBEY 




CHEERS/CARV 1 N THE BIRD 


0 1 AL 


1 .05 


HUBERT ROSTAING 






melancholy/none my jelly roll tf- i 242 


.79 


YARDBIRD SUITe/mOOSE THE MOOCHED 1 AL 


1 .05 


ICE CREAM BL/SUNNY SIDE 


SW 


1 .05 


WEARY Bl/siSTER KATE TR 1 24! 


.79 


stupendous/dexter GORDON-B 1 K 1 N 1 ) D 1 a l 


1.05 


RED ALLEN 






BUNK JOHNSON 




SCRAPPLE APPLE/DONT BLAME ME 


DIAL 


1 .05 


BILLS DOWNBEAT/SHANTY TOWN 


APtLLO 


.79 


PALLET ON THE FLOur/baLL 1 N JM 16 


1 .05 


koko/(bias-how hi moon) 


SAVOY 


i .05 


METRONOME ALL STARS 






BABY DODDS TRIO ( EWELL-N ICHOLAS ) 




RELAX 1 N AT CAMAR 1 LLO/( CHA L0FF )D 1 AL 


1 .05 


LEAP HERE/METRONOME RIFF 


CP 


.79 


buddy boldem bl/orum IMPROV 2 CI 1039 


1 .05 


BIRDS NEST/DARK SHADOWS 


DIAL 


1 .05 


SWEET LORRAINE/NAT MEETS JUNE 


CO 


.79 


ALL STAR STOMPERS 




bebop/lover MAN 


D 1 AL 


1 .05 


GEORGIE AULD 






(DAV 1 SON, ARC HEY, N ICHOLAS, DODDS, SUTTON) 




STREET BEAT/20 CENTURY RHY 


APOLLO 


.79 


TAPS MILLER/CONCERTO TENOR 


SAVOY 


.79 


SH 1 MMESHAWAB8LE/SW 1 NG 1 N DOWN /ST LOUIS 


8L/ 


IF 1 HAD u/TAKIN OFF 


APOLLO 


.79 


1 CANT GET STARTED 1-2 


APOLLO 


.79 


*l NEVER KNEw/CANT WE BE FR 1 EKDs/AVALON 




THELON IOCS MONK 






AIR MAIL SPECIAL/HERE COMES 


MU 


.79 


THIS IS JAZZ ALBUM 3 CI S- 1 5 


3.95 


EVONCE/OFF MINOR 


BN 


1 .05 


LETS JUMP/TIME ON HANDS 


MU 


.79 


GRAEME BELL 




EP 1 STROPHY/l N WALKED BUD 


BN 


1 .05 


DAILY DOUBLE/u HAVENT CHANGED 


MU 


.79 


WAS LEICESTER SQUARE/jACKASS BLJUMP |5 


1 .05 


ROUND ABOUT MIDNITe/wEEL U NEEDBN 


1 .05 


BLUE MCON/SEEMS LIKE OLD TIMESMU 


.79 


EDDIE MILLER TRIO 




THELON 1 0US/SUR8URBAN EYES 


BN 


1 .05 


CHU BERRY 






EASY TO REMEMBER/BACK HOME JUMP |6 


1 .05 


DIZZY GILLESPIE 






CHUBERRY JAM/MAELSTPOM 


CO 


.79 


ANDERSONS OSHKOSH SERENADERS 




ALGO BUENa/miHOR WALK 


VI 


.79 


46 W. 52/siTT ,N I N 


CMS 


.79 


(JBE RUSHTON, "JARREN SMITH, BOB ANDERSON ) 


manteca/cool BREEZE 


VI 


.79 


MONDAY AT M 1 NT ONs/BLOW 1 N BREEZECMS 


. 79 


WRITE SELF LETTEr/sEPT IN RAINJUMP |7 


1.05 


SALT PEANWTs/l WAITED FOR U 


MUSI CRAFT .79 


TEDDY WILSON 






SOLO ART REISSUE ALBUM 




RAYS IDEA/HE BEEPED 


MU 


.79 


SHEIK A R A BY/SOME TH 1 NG 1 DREAM 


MU 


.79 


PETE JOHNSON— CL 1MB 1 N SCREAM 1 N 




emanon/thimgs TO COME 


MU 


.79 


WHISFERIMg/tIME GOES BY 


MU 


.79 


PETE JOHNSON— HOW LONG BL 




DYNAMO/ROUND ABOUT MIDNIGHT 


D 1 AL 


1.05 


JUST U JUST ME/jUST FOR U 


MU 


.79 


JIMMY YANCEY-THE FIVES 




DIGGIN D 1 ZZ/(MCGHEE -TRUMPET ) 


D 1 AL 


1 .05 


BUGLE CALL RAG/MEMOR 1 ES OF U 


MU 


.79 


ALBERT AMMONS-MECCA FLAT BL 




BEBOp/sALTED PEANUTS 


MANOR 


.79 


RUNNIM wild/i SURRENDER DEAR 


MU 


.79 


CLARENCE LOFTON— HAD A DREAM 




confirmation/when 1 GROW TOO 


D 1 AL 


1 .05 


CANT GET STARTEO/STOMPI M SAVOYMU 


.79 


MODES-SOUTHS ICE SHUFFLE 




DIZZY ATMOSPHERE/ALL THINGS 


MU 


.79 


BL TOO/IF DREAMS COME TRUE 


MU 


.79 


C IRCLE ALBUM CI s-16 


3.95 


HCT HOUSE/BL N BOOGIE 


MU 


• 79 


ERROL GARNER 






CASTLE JAZZ BAND 




TWO BASS HIT/STAY ON IT 


VI 


• 7 9 


PLAY F 1 AN 0 PLAY/FRANK t E JOHNNYD 1 AL 


1 .05 


ORYS CREOLE TROMBONE/GA CAMP MEETING 6 


1 .05 


CAST GET STA RTEd/c CC D FAIT 


MANOR 


.79 


TRIO/PASTEL 


DIAL 


1 .05 


LU WATTERS 




OOP BOP shebam/thats EARL 


MU 


.79 


DODO MARMAROSA 






PANAMA /n.O. JOYS WC Il5 


1.05 


OW/OOP PAPA OA 


VI 


.79 


BOPMAT 1 SM/TRADE WINDS 


DIAL 


.79 


CLIMAX RAC./SAGE HEN STRUT WC 1 16 


1 .05 


good bait(big band)/oolya COO 


VI 


.79 


L0'<ER/dARY DEPARTS 


D 1 AL 


.79 


copenhagen/jazzin babies bl wc ii7 


1 .05 


GROOVIN HICH/HANDFUL GIMME 


MU 


.79 


MELLOW MOOD/HOW HIGH THE MOON 


AT OM 1 C 


.79 


LOU IS ARMSTRONG "01 F IVE 




SHAW NUFF/LOVER MAN 


MU 


.79 


DODOS BL/l SURRENDER OEA R 


ATOM 1 C 


,70 


SUNSET CAFE STOMP/BUTTER EGG HJCA 16 


1 .05 


OUR DELIGHT/GOOD DUES BL 


MU 


.79 


LESTER YOUNG 






« ARMSTRONG AND BECHET WITH CL WMS 


BL 3 


ONE BASS HIT 1-2 


MU 


.79 


1 NEVER KNEw/jUST U JUST ME 


KY 


.79 


Texas moaner/coal cart hjca i7 


1.65' 


MOODY S PEA KS /SMOKE Y HOLLOW 


SAVOY 


1 .05 


AFTERNOON BAS 1 E 1 TE/SOMET 1 MES 


KY 


.79 


KING OLIVER CREOLE JAZZ BAND 




TADD DAMERON 






BLUE L ESTER/jUMP LESTER 


SAVOY 


.79 


LONDON BL/CAMP MEETING HJCA |8 


1 .05 


THE SQUIRREL/OUR DELIGHT 


BN 


1 .05 


DB BLUES/LFSTER BL AGAIN 


ALADD 1 N 


1.05 


JOHNNY DODDS CHICAGO FOOTWARFERS 




THE CHASe/daMERONIA 


BN 


1 .05 


JUMPIMMESSNERs/THESE FOOLISH 


ALADDIN 


1 .05 


MY GALSWEEP EM CLEAN HJCA l 9 


1 .05 


TAD WALK/BEBOP CARROLL 


SAVOY 


1 .05 


AFTER U GONE/PAPER MOON 


ALADDIN 


1.05 


BOB WILeER WILDCATS 




CHARLIE VENTURA 






LOVCR COME BACK TO ME/jAV IN 


ALADD 1 N 


1 .05 


WHEN U WORE TULIP/CAMP MEETING Bl/0NCE 


1 N A 


EUPHORIA/lF 1 HAD U 


NA 


.79 


NEW LESTER LEAPs/u DR 1 V 1 N ME 


ALADD IN 


1 .05 


while/oh daddy/trouble in mind/frog 1 MORE 


FOPEVE R BLOWING BUBBLES/BABY 


NA 


.79 


LESTERS BEBOP/SHES FUNNY THAT 


ALADDIN 


1 .05 


RAMPART ALBUM # 1 


3.95 


EAST CF SUEz/lLL NEVER BE SAM ENA 


.79 


SUNDAY/NO EYES BL 


ALADDIN 


1 .05 


WASHBOARD WONDERS (WELLSTOOD) 




SYHTHESI S/6LUE CHAMPAGNE 


NA 


.79 


SAXOBEBOP/JUMPIN SYMPH SID 


ALADDIN 


1.05 


BOROELLO DAYS/OONT FORGET TO MEPX 2 


1.05 


ELEVEN SIXTY/SOOTHE ME 


NA 


.79 


ONE OCL JUMp/jUMPIN WOODSICE 


ALADDIN 


1.05 


LOU IS HOT F 1 VE 




TEA FOR TWO/GHOST OF CHANCE 


SUNSET 


1 .05 


CONFES&I N/EASY DOES IT 


ALADD 1 N 


1.05 


LONESOME Bl/k|NG ZULU S ( PRESS 1 NG ) 


1 .05 


CV JUMP/l SURRENDER DEAR 


SUNSET 


1 .05 


SHE IK ARABY/EAST OF SUN 


ALADC 1 N 


1 .05 


KID ORY (FROM NORDSKOG-SUNSHINE) 




JACK POT/CHARLIE COMES ON 


SAVOY 


1 .05 


COLEMAN HAWK IKS 






SOCIETY BL/ORY CREOLE TROM PX 3 


I.C5 


ALLEN EAGER 






fine dinner/body SOUL 


VI 


.79 


BUD JACOBSON JUNGLE KINGS 




RAMPAGE/BOOSY HATCH 


SAVOY 


1 .05 


dedication/smack 


CMS 


.79 


CLARANET MARM/LAUGH 1 NG AT U CE 40 1 5 


1 .05 


MEESK 1 TE/OONALC JAY 


SAVOY 


1 .05 


ESQUIRE BOUNCE/eSQ BL 


CMS 


.79 


CHICAGO RHYTHM KINGS 




JANES BOUNCE/STAN GETZ 


SAVCi 


1.05 


mop mop/my ideal 


CMS 


.79 


(HODES, MARTY MARSALA, ROD CLESS) 




SY^P HOMY SIDS IDEA /STAN GETZ 


SAVOY 


1.05 


APRIL IN PARIS/HOW STRANGE 


VI 


.79 


SONG OF WANDERER/CHANGES MADE CE 40 1 6 


1 .05 


WAROELL GRAY 






RA 1 JEjGV M. lET/wOOOYN U 


APOLLO 


.79 


SIDNEY BECHET WITH WILBERS WILDCATS 


THE CHASE/WITH DEXTER GORDON 


D 1 AL 


1 ,05 


yesterdas/bu oe daht 


APOLLO 


.79 


LAURA/ONE THESE THINGS/POLKA DOT RAG/ 1 


HAD 


STor ed/matter in mind 


SI TTI N 


4N .79 


FEELIM ZERO/DISORDER AT BORDERAPOLLO 


.79 


It/spreadin joy/love for sale/shake EM 


UP 


SWEET GEORGIA BOP 1-2 


MODERN 


• 79 


COOT IE W 1 LLIAMS 






C0LUM6A ALBUM C-|73 


3.75 


FOR A COMPLETE LIST OF OUR AVAILABLE 


BOP 


typhoon/talk some trash 


MERCURY 


.79 


SEND FOR OUR TRADITIONAL JAZZ CATALOG i 


2. 


SEND FOR OUR MODERN MUSIC CATALOGUE i 


2. 


SEND FOR SWING CATALOGUE f 3. 






FOR EVERYTH 


1 N 


G IN JAZZ V 


1 3 


T THE CORNER 







39 



AUCTION 








AUCTION 




AUCTION 


AUCTION 




JOHN M. PIPES 








SAM H. PHILPOT 




1 2 1 5 B 


IG 


5 PR 1 NGS 


TEXAS 








OP. DC A P UT DC"C" p | DP | r 
CO rLAOHIKLL U 1 LL 


3f£AR 




MINIMUM BID ON ANY RECORD $ 1.50. CONDITION 


GUARANTEED. WINNING RECORDS WILL 


BE SENT 




ATLANTA, GEORGIA 






VIA PP COD UNLESS OTHERWISE REQUESTED. 


PACK SAFELY AND CHARGE NOTHING EXTRA FOR TH IJ 




cu i p r nn ddy no pd ponrrcc ifiMsi 

on 1 r u UU rtKA UK r r « rKUrLoDIUNHL 


D AP V 1 MP 
r AO N I Nu • 




3LKV ILL. 
















M 1 N 1 MUM BIO 50^. 






i o w i MP imniienu 








1 nlll^lANA DHVTHU tflMPC 
LUU 1 D 1 A IN A KnY 1 p, M M NuO 








S 1 It MFV RFP HF T 
O I U INC. T DC. L>nC 1 






SWEETHEART OF ALL/jACQUES RENARD 


VI 


21834 


'. 


caravan/billowy sea 


BR 


4908 


N 


ol man bl/nobody knows way 


V | £0 00 J 


E 


nru 1 in oral 
Kt. v . J 1 M OC.ML 








LAZY DADDY/THERES EGYPT IN YOUR 


BR 


4923 




Q A D Mfu D 1 f ft n n 

n A H N L Y b 1 j A hi! 






THERE WAS JOb/hANQ OF LORD 




7| 08 


N 


TED LEWIS (ALSO CO 895 n) 








c bl/brown suede 


BB I t 58 1 


E 










CANT GET OVER/RE 1 CHMAN ) 


CO 


754 




pdpcqv dpqpatc / mpdup 
UKUoDT DUDOHIo / NUKVU 






BLESS U SISTEr/caUSE 1 FEEL LOW 




12683 


E 


WISTFUL AND Bl/| F U SEE SALLY 


CO 


844 




slow mood/lady he good 


n e- lOQ/i 
DE J Oo4 


N 


j -i - r 1, J 








FRANK IE JOHNNY/HAH WAH 


CO 


1 0 1 7 




pro^ry Rn rp a t q /ivinDi^ 

OKUODI D U OU A 1 O / I 1 ! U K P. 






5 pennies/feel in no pain 


CO 


|229n 


EVERYBODY HAPPY NOw/DOWN OLD 


CO 


1 207 


N 


JAZZ ME Bl/tIN ROOF BL 


DE 3523 


E 


SUGAR FT STRUT/lMAGINATION 


CO 


1260 


L 


HELLO MONTREAL/LAUGH CLOWN 


CO 


1 346 




ryFDv nniTQPu 
lMLKT ucuidum 






WASNT IT NICE/HERE COMES EM 1 LE 


CO 


219 N 


oh baby/start BAND 


CO 






HARBOR LI G HT s/s T A RDUS T ON MOON 


BR 9 1 


E 


COTTON PICKERS 








1 AINT GOT NOBODY/GOOD MAN IS 


CO 


1 428 




inwMMv nnnnp 
juniMi'ji uuuuo 






MOAN 1 N LOw/AL GOODMAN 


BR 


4446 




MOONLIGHT MADNESS/KING FOR DAY 


CO 


1 485 




Rl P. A 1 P DP" /C U A l*T VP1ID PAM 
□ L UHLwUC/otlMI^L. YUUH U A IN 


DE 74 1 3 


E 


DUKE ELLINGTON 








CL A R 1 NET MARMALADE/SHI MMESHAWABBLECO 


1 573 




ni 1 KF FN I NP. T PiW 
UU r L C LL 1 JU 1 UN 






bl again/bert lown orch 


VI 


22603 




L 1 MEHOUSE Bl/rOSE PICARDY 


GO 


1 789 




u FUfi o I nc 1 1 A 1 1 rvv TP Mr 


V 1 230l 7 


V+ 


RIVER AND ME/KEEP SONG 


VI 


22614 




MAY3E/IM WALK1N AROUND 




1 854 




P 1 " A PlPA AAA /P A KIT Al Iff II *MVTU 

1 j - U 1 bA UUU/LANi b| Ut U ANYIH 


V| 38008 


N 


the mooche/hotsy totsy bang 


BR 


4|22 




MEDICINE MAN FOR 8l/wONT 


CO 


1 882 




soli tude/mood indigo 


CO 35427 


N 


SEGER ELL IS 








LONELY TROUBADOR/THOUGHT 


CO 


1 957 




MA 1 N STEM/jOHNNY COME LATELY 


VI 20|556 


E- 


sunday/aint that too bad/ 


CO 


814 




LADY LUCk/lITTLE DREAM BOAT 


CO 


1 999 




KLEINE KAMMERMUS 1 K MISPRINT (m65| 


) DUSK IN 




without u sweetheart/voice of SOUThCO 1374 




WABASH BL/FAREWELL BL 


CO 


2029 




DESERT. SEE H0EFERS COLUMN .RARE 


CO 1 723 1 


N 


was it dream/last NIGHT 1 DR 


CO 


1433 




SINGIN VAGABOND SONG/ON SUNNY 


CO 


2 1 44 




BENNY GOODMAN 






memories of france/i still love u 


CO 


1453 


N 


di nah/lonesome rd 


CO 


2 1 3| 




DR HECKLE MR JIBE/TEX TEA PARTY 


CO 3167 


E 


poppin em out/mong souvenirs 


OK 


40970 




3 ocl in morning/world IS 


CO 


2246 




JIMMY LUNCEFORD 






are u thinking of me tonite 


OK 


40900 




truly/at last im hahhp 


CO 


2408 




PHILCO OEMONSTARATI-ON RECORD 8-A 


JAZZNOCRACY 


chloe/if 1 CANT have u 


OK 


41047 




MEMPHIS STOMPERS 








JIMMY TALKS-MONOTONY 4 FLATS DIFFERENT FROM 


song of love/inspirartion is u 


OK 


41 190 


N 


KANSAS CITY Bl/hOLD IT STILL 


VI 


2 1270 




CO 35567— OTHER SIDE ORRIN TUCKER 




G4- 


coquette/loui se 


OK 


4|22| 




YEA ALABAMA STOMP/wASH LEE STOMP 


VI 


2 1 709 




CDAU Ift A DT 1 M 
oKAn MAK 1 IN 






swing in hammock/olo new en land 


OK 


4|436 




BUBBER Ml LEY MILAGE MAKERS 








ROMAN BL(CATCH)/| GOT TO GO 


OK S| 04 


G 


confess in/good evening 


OK 


4|44| 


- + 


PENALTY LOVE/LOVIN U THE WAY 


VI 


230 0 




Mr M DU 1 Q II IP DAMP 
MLWIrnlb JUb DANU 






ST LOUIS BL-/ 


OK 


41447 




EMMET T MILLER 








BEALE ST MESSA ROUND/SEE U IN SPR 


VI 2 1 066 


F 


WHATS THE USE/lF 1 COULD BE 


OK 


4 1452 


E 


PICKANINNIES PARADISE/BLUES 


OK 


41377 




IC I I v npi i iipriTPM 
JLLLY HULL MUH 1 UN 






J.C.FLIPPEN 








MOUND CITY BLUE BLOWERS 








NO BUMPS/KC STOMP 


BB 7757 


E 


OUT WHERE Bl/yOURE JUST 


BP 


4289 


N 


TIGER RAG/DEEP SECOND ST BL 


BR 


2804 




RED NICHOLS ( BG TEA) 






REV GATES 








RED NICHOLS 








I got rhythm/embracable u 


BR 4957 


E 


flood alabama/death is your 


0- 


8678 


E 


5 PENNI ES/HARLEM TWIST 


VI 


21560 




ORIGINAL MEMPHIS FIVE 






GENE GOLDKETTE 








THATS WHERE SOUTh/|M 


VI 


23026 




NOBODY KNOWS RED HE AB/oO W ACK A DO 


CO 308 


N 


JUST MY WAY forgetting 


V 1 


21590 


N 


CANT WE BE FR 1 ENDs/wA 1 T FOR HAP 


BR 


4510 




TINY PARHAM 






CAN U BLAME ME/hENRY <THIES ORCH 


VI 


2l87i 


N 


SAY IT W 1 TH MUSIC/THEY DIDNT BEL 


BR 


461 5 




SPO DE 0 OE/FROG TOWN BL 


DE 7780 


N 


TIPTOE THRU TULI Ps/PA 1 NTEO CL 


VI 


22027 


N 


NEW ORLEANS OWLS 








HARRY RADFRMAN/J SAMUELS 






BENNY GOODMAN 








goose pimples/throwin horns 


CO 


1261 




MUSCLE SHOALS Bl/| VE GOT HABITS 


OK 4477 


V 


ROOM l4ll/jUNGLE BL 


BR' 


4013 


N 


BEN POLLACK 








ADRIAN ROLL 1 N 1 ( BG ) 






CLIFFORD HAYES LOUISIANA STOI/PERS 




SINGAPORE SORROWS/SWEET SUE 


VI 


21437 




DAVENPORT BL/oOMEBODY LOVES ME 


DE 359 


E 


BYE BYE Bl/bAREFT ST 


VI 


21439 


N 


forever/i loved u then ( TROUBADORS )V|2| 7| 6 




CURA SM.ITH (LOUIS) 






MONK HAZEL 








BYE BYE BABY/SHES ONE SWEET GIRL 


VI 


21743 




NOBODY KNOWS WAY 1 FEEl/|F U 






ideas/get wi th it 


BR 


4132 


N 


LOUISE/WAIT TIL U SEE CHER IE 


VI 


2l94| 




ONLY NOD (MINT IN ORIG ENVELOPE) 


CO 14058 


N 


FLETCHER HENDERSON 








ALWAYS IN ARMS/sWEETHEART 


VI 


22101 




BOYD SENTER 






tozo/rocky MT BL 


CO 


970 


N 


SONG OF 8L/SMITH BALLEW 


VI 


22147 




BEALE ST BL/COPENHAGEN 


V| 22303 


V 


KING P0RTER/D NATURAL BL 


CO 


1 543 


N 


LEE SIMS 








JABBO SMITH 






LET ME INTRODUCE/l WANT TO SEE 


6P 


3026 


E+ 


ST LOUIS BL/3ISTER KATE 


BR 


4780 


N 


ABSOLUTELY/HOW CAN CUPID BE STUPI 


DDE |7|2 


E 


FIDGETY FETt/sENSATI ON 


BR 


3521 


V 


MAMIE SMITH 








MUGGSY SPAN 1 ER 






hop off/broadway BCSTRS 


3P 


41 19 




DONT DA.VERTSE MAn/kEEP 


OK 


8864 


E 


WRECK 97/2 CLOCK JUMP 


DE 4436 


E 


HOKUM BOYS 








PAUL TREMAINE 








MAX 1 NE SULLIVAN 






AINT GOIN THT WAy/u CANT GET 


PM 


12821 


E 


SARAH LEE/SINGIN FOR MOON 


VI 


40230 


N 


NELLIE GRAY/FOLKS ON HILL 


VO 3885 


E 


JACK HYLTON 








FATS WALLER 








TAMPA BL JAZZ 8/1 ND 






LAUGHM MARIONETTE/Ll^T UP MY 


VI 


22067 


N 


ST LOUIS BL/LENOX AVE BL 


VI 


20357 


N 


W.TEXAS 8L/AtNT GOT NOTHIN 


OK 4595 


G- 


JAMES P. JOHNSON 








1 AINT GOT NOBODY/RED HOT ( T.MORR 1 S )v I 2 1 1 27E 


JACK TEAGARDEN 






JIMGLES/u GOT BE MODERNISTIC 


BR 


4762 


N. 


PLEASE TAKE ME OUT JAIl/hES GONE 


VI 


21202 


E 


AUNT HA GA R Bl/sW]NG ELECTION 


CO 35206 


E 


feelin bl/riffs 


OK 


8770 


E- 


LOVE ME LEAVE Me/| GOT FEELING 


VI 


22092 


N 


BL GOT ME/pRELUDE TO BL (l GR RIM 


)de 4409 


N 


LONNIE JOHNSON & BLIND WILLIE DUNN 




WASH 1 NGTON 1 ANS 








NOBODY KNOWS/lOO YRS TODAY 


DE 43| 7 


N 


BL ROOm/mIDNIGhT CALL BL 


OV 


88|3 


E 


BLACK BEAUTY/TAKE IT EASY 


BR 


4009 


'i 


J. VENUTI NEW YORKERS 






ROGER WOLF KAHN 








JU8ILLEE STOMp/hOTSY TOTSY GANG 


BR 


4044 


H 


CHANT JUNGLE/WONDERFUL SOM 


OK 41320 


E 


HOT HOT HOTTENTOT/YEARNI NG 


VI 


19616 


E+ 


ETHEL WATERS 








WASH INGTON IANS/BOB HAR 1 NG 






REAL SWEETHEART/LONELY LIT 


VI 


2l5l0 


N 


SHOO SHHOO BOOG/DO 1 KNOW WHAT 


CO 


1905 


N 


hove over/me and man 


RO 829 


V- 


PRETTY LITTLE THING/hEIGH HO 


BR 


4374 


N 


TRAVEL IN ALL AL ONE/wA 1 T 1 NG AT 


CO 


1933 


N 


LEO W8TS0N 






li za/do WHAT U 00 


BR 


4479 


N 


U LUCKY TO ME/MEMORIES OF U 


CO 


2288 


N 


TUNE THAT COUNTs/jADA 


DE 2959 


N 


WHY WAS 1 BORn/hERE 1 AM 


BR 


4583 


N 


PAUL WHITEMAN 








PAUL WHITEMAN (BIX SOLO) 






GREAT DAY/WITHOUT SONG 


BP 


4600 


N 


MEDITATION THAIs/wATERS OF MINN 


VI 


1 9391 n/e 


LONELY MELODy/ramona 


VI 2|2|4 


E 


DO NT EVER LEAVE ME/TWAS NOT SO 


BR 


46|4 


N 


SONG INDIA/CHO CHO SAN 


VI 


20200 


N 


CLARENCE WILLIAMS BL FIVE 






WHEN WOMAN LOVES MAn/C00KIN BREAK 


BR 


4699 


N 


MISS. MUD/FROM MONDAY ON 


VI 


21274 


E 


TEXAS MOANER/HOUSE RENT BL (ORI G ENV)0K8|7| 


N 


EXACTLY LIKE u/sUNNY SIDE ST 


PBR 4742 


N 


SUGAR/THERE AINT NO S WEET MAN 


VI 


21464 


II 


ALEE WILDER 






into heart/dark NIGHT 


e p 


481 1 


N 


BLUE NIGHT/ROSES YESTERDAY 


CO 


1553 


11 


ALEC WILDER OCTET ALBUM 


C 60 N 


CHEER UP/lSHAM JONES ORCH 


BR 


4826 


N 


JUST sweetheart/where IS THE SONG 


CO 


1630 


II 


G IGL 1 . PIMZA.ST IGNAN 1 .CAN tGL IA 




HAL KEMP 








HOW ABOUT ME/CRADLE LOVE 


CO 


1723 


N 


VERDI REQUIEM MASS (MINT) 


VI DM734 


N 


MY TROUBLES OVER/GYPSY 


8R 


4|5| 


N 


LOVER COME BACK TO Me/mar|ANNE 


CO 


1 731 


N 


WILHELM FURTWANGLER VIENNA 


PHILHARM. 




LUCKY STAR/u WONT FOOL ME 


BR 


42i2 


N 


SONG CONGO/wEDD 1 NG BIRDS 


CO 


2263 


N 


BRAHMS 1ST SYMPH (MINT) 


HMV 9220 


N 


TO BE IN LOVE/WHEN DREAMS 


BR 


4338 


N 


IN HEART ITS u/bIG BOUQUET 


CO 


2289- N 




TO 




ANDY KIRK 








BODY SOUL/SOM THING TO REMEMBER U 


CO 


2297 


N 




9225 




MARYS IDEA/ONCE TWICE 


BR 


4863 


N 


WOLVERINES-IF 1 HAD u/l FAW DOWN 


vo 


15766 


n 









40 



SALE 



HARRY K. CRAWFORD 

|5 CHESTERWOOD AVE., MT, VERNON, NV 
RECORD CONDITION GUARANTEED. NO PACKING CHARGE. MINIMUM AUCTION BID 50#. ALL 
RECORDS IN NEi CONDITION UNLESS OTHERWISE STATED. MIMI/UM ORDER 3 RECORDS. 
AUCTION BIDS CONSIDERED UNTIL JANUARY 20 AT WHICH TIME WINNERS ONLY WILL BE 
NOTIFIED AND RECORDS SHIPPED VIA PP COO. POSTAGE MUST BE INCLUDED IN ADVANCE 
REMITTANCE OR ITEMS WILL BE SHIPPED RRX COLLECT. 



AUCTION 



AUCTION AUCTION 
MERRILL HAMMOND 

2127 S. DELAWARE COURT, TULSA 4, OKLAHOMA 
JANUARY 1 5, 1949 CLOSING DATE, shipment 
EXPRESS COD UNLESS OTHERWISE SPECIFIED. 
PACKING CHARGE 25jS,0N ORDERS UNDER $5.00. 
MONEY BACK IF NOT AS DESCRIBED. 



BERNARD ADD I SON RHYTHM 

LOVELY LIZA LEE<LITTLE RAMBLERs)bB 6|44 
AMMONS, LEWIS, JOHNSON 

4606 



BOOGIE PRAYER 1-2 
GRAEME BELL 



vo 



I .05 
I .05 



VI 25872 V 

BR 6800 V 

BR 6983 

SE 5006 I .05 



,05 



BIRMINGHAM BERTHA/BABY WONT U PACF90000I .57 
TIGER RAG/NONE MY JELLY ROLL PACF9O0O2 1.57 
CANAL ST BL/lVE GOT WHAT T A KEPA CF90003 1.57 
DEEP PAC I F IC/OARKTOWN ST RUTTE RSPF90004 1.57 
WOLVERINE BL/OSTRICH WALK PACF9C005 1.57 
south/sh MMESHABBLE JC 
YAMA YAMA Bl/biG CHIEF BATTLE JC 
BUNNY BERIGAN 

WACKY DUST/WEARING GREEN 

CASA LOMA ORCH 
I got rhythm/old man river 

HOW CAN U FACE ME 
CASA LOMA STOMP/SMOKE RINGS 

CHARLE STON CHASERS 
LOVABLE SWEET/RED HAIR FRECKLESCO 1 925 E+- 

ROD CLESS QUARTET (JP JOHNSON) 
PALETTE ON FLOOR/lMNOW U BW 30 I. 

BOB CROSBY (BOBCATS') 
MISTRI8S MINE/LOVER AND LASS DE 2662 V 
WORLD WAITING SUNRISE/bL ORCHIDS 2734 
•LOVE NE6T/TIL WE MEET DE 2625 

AIR MAIL STOMP/OH WHAT U SAID DE 2992 E 
FAR AWAY MUSIC/FLAMINGO DE 3752 

TAKE IT EASY/ONLY DREAM DE '1 37 

PETE DAILY CHICAGOAN 
WOLVERINE BL/LIVERY STASLE JU I 2 
RED LIGHT RAg/suGAR FT STRUT SU 7559 

J OHNNY DODDS (N.O. WANDERERS ) 
gatemouth/perdi do SE 5000 

LOUIS DUMAINE JAZZOLA 8 

RED ONION DRAG/FRANKLIN ST BL HOCA |3 1.05 
TOWABACAWA/PRETTY AUDREY HJCA |4 I .05 

DUKE ELLINGTON 

MOOD I ND I Go/wALL ST WA I L BR 80003 

KILLING SELF/LOVE FADED CO 35640 E 
ECHOS HARLEI//(T WILSON HOL I DAY ) C036283 

HOT FEET/SLOPPY JOE VI 38065 

YU8 ILESTa/mOONL IGHT FIESTA SE 5007 1.05 

BUD FREEMAN SUMMA CUM LAUDE ORCH 

SATANIC BL/SILFISH DE 2781 

GENE GOLDKETTE 

SUNDAY/RATHER BE GIRL IN ARMS VI 20273 E 
JUST MY WAY F. RGETTINQ VI 2|590 E 

GOOFUS FIVE (NICHOLS ROLL I N I ) 
SISTER KATE/FAREWELL BL OK 40767 

COLEMAN HAWKINS 
FORGIVE A FOOL/SLEEPING BEAUTYOK 6347 
HONEYSUCKLE ROSE/CRAZY RHYTHM VI 262 1 9 

JOE HAYMES 

L I MEHOUSE BL/fHINE ON HARVEST BB 5|33 V 

FLECTCHER HENDERSON 
RUG CUTTER" SWING/wlLO PARTY OE 342 E 
LIZA /HOTTER THAN ELL DE 555 E 

KING P0RTER/(WMS JUG BAND ) OK 4 1 565 

COME ON COOT/(NOONE POWERS ) UHCA 79 1.25 
GRAND TERRACE/RIFF IN VI 25339 

CLIFF JACKSON ( BECHET,DEPAR I S BROS) 

QUIET PLEASE/»ALK I N TALK IN SELFBW I 204 1.57 
JEEPERS CREE PERS/CL I FFS BOOG BW I 205 1.57 

FREDDY KEPPARD JAZZ CARDINALS 

STOCKYARO STRUT/SALTY DOG UHCA 731.25 

GENE KRUPA 

WIRE BRUSH St/wHAT GOES ON HEREBR 8 1 66 E 
PEBBLES IN STREAM/GPEEN EYES OK 6222 
PASS THE BOUNCE/ME AND MELINOAOK 6619 

CLAUDE LUTER 

ROYAL GARDEN BL/wHERE DID U PACF9000E 1.57 

HIGH SOCIETY/WEST END BL PACF90009 1.57 

DIONT HE RAMBLE/CANAL ST BL PACr900l0 1.57 

WILDCAT BL/ORY CREOLE TROM RAM 4 1.05 

TIGER RAG/SPORT MODEL MAMA RAM 5 1.05 

PIMLICO/CARELESS LOVE BL SW 262 1.57 

JUST gone/graveyard BL SW 268 1.57 



C HARLIE. LAVERES CHICAGO LO OPERS 

IM C0MIN VA/SUNDAY JUMP 2 1.05 

IF I had u/exactly Like u ju 6 I. 05 

MIKE LOSCALZO 0 IX I ELAND WOPDSHEDDERS 

THATS A PLENTY/SOMEOAY SWEET BW I 2 1 5 I .57 
CHUCK MAC KEYS MICH BLVD GANG 

JU i | | .05 



AT SUNDOWN/HAPPY BL 

. PAUL MARES FRIARS SOCIETY ORCH 

LAND 0 ORE AM /re I NC A RN"A T I ON OK 4 1 575 

MEZZ MEZZROW 

35TH CALUMET/OLD FASHIONED LO VI 25202 G 

MIFF MOLES MOLERS 
WILD CAT JOE/CREAM IN COFFEE 00 4||53 
MOAN I N LOw/b|RMINHAM BER 1 HA OK 4| 273 
navy bl/lucky LITTLE DEVIL OK 4 | 371 

TOOTS MONDELLO (ZIGGY ELMAN) 

SWEET LORRA I NE/BEYOND THE MOONVS 8 1 10 

JELLY ROLL MORTON 
pearls/king porter 



,0067 
1703 
400| 
4003 



.80 
1.25 
I .25 
1.25 



panama/sweet substitute gl 
mamies bl/crig rags gl 

BU0DY B0LDEN Bl/thE CRAVE GL 
DONT U LEAVE ME HERe/kING PORTER 4005 1.25 
DE P CRREEK/RED HOT PEPPER V|400| 19 .80 
PRETTY LIL/BRNIN THE ICEBERG V|400|20 .80 
LITTLE LAWRENCE/pONCHARTRA IN V|400|2| .80 

MOUND C I TY BLUE BLOWERS 
ONE HOUr/tA ILHPIN BL BB 6456 

DARKTOWN STR'JTTERS BALl/bESSI ECO 36281 

RED NICHOLS RECORDING GROUPS 

AFTER U GONE/WILD ABOUT HARRY BR 4839 G 
KEEP SONG l*N SOUL(TEA VOc) BR 6068 V 
I NO I ANA/D I NA H BR 67|8 

she I K araby/shimmeshawabble BR 80005 .80 

GOOD MAN HARD Tr F I ND/e CCENTR I CM F lOl 1.05 
WHY COULDNT IT BE POOR LITTLE OK 40303 
last im happy/havent GOT GIRL VI 23033 E 

I AINT GOT NOBODY/BIRM BKON REX25070 1.05 

QUINTET HOT CLUB FRANCE (ALL RED LABEL 

SOME THESE DAYS/LILY BELLE DE ^JU04 

CHINA BOY/MOONGLOW DE 23U3 I 

SWEET GA BROWN/SOUVENIRS DE 23065 

daphne/wonder WHERE BABY IS DE 23|52 
PEE WEE RUSSELL ( JP JOHNSON ) 

D I NA H/BAEY WONT U PLEASE 
CHANGES MADE/ZUTTY HOOTIE BL 
BOB SCOBEY JAZZ BAND 

W I LO MAN BL/4 LEAF CLOVER 
BALL I N THE JACk/aCE IN HOLE 
DOIN GRIZZLY BEAr/aLEX RAG 
SISTER KATE/wEARY BL 
MELANCHOLY Bl/nONE JELLY ROLL 
ART IE SHAW 



HRS 


1000 


1 .05 


HRS 


1001 


1 .05 


TRI 


220 


1.05 


TRI 


221 


I.C5 


TRI 


222 


1.05 


TRI 




1 .05 


TRI 




1 .05 



rosalie/lover come back 

VI LI a/man I LOVE 
OEEP PURPLE/PASTEL BL 
THRU THE YRS/NOCTURNE 



BB I 01 26 

bb ioi2e 

BB I Ol 76 
VI 27703 



JABBO SMITHS RHYTHM ACES 
JAZZ BATTLE/BOSTON SKIFFLE UHCA 43 

TRIXIE SMITH (LOUIS, JOE SMITH ) 
rr bl/worlds JAZZ CRAZY UHCA 8| 

EVERYBODY DOIN CHARLESTON NOW 

MUGGSY SPAN IER 

CHICAGo/cANT WE BE FRIENDS DE 4|68 



I .25 
I .05 



GEORGE WETTLING (MEZZROW) 

SOME THESE DAYS/EVERYBODY LO BW 

BOB WILBERS WILDCATS 



7 1.05 



camp meeting bl/once in while ram 8 i .05 

RAM 7 I .05 

ram 6 I .05 

RAM 3 I .05 

RAM 2 I .05 

RAM I I .05 

CMS 583 I .05 

CMS 584 I .05 



frogimore/oh daddy 
u wore tulip/trouble in mind 
chimes bl/old fashioned love 
N.O. shuffle/cant SAY 
snake rag/salty DOE 

MABELS DREAM/WILLIE WEEPER 
WILD CT BL/BLUES FOR FOWLER 
JOE YUKLS WABASH FIVE 
suga r/body SOUL 

ROYAL GARDEN/QT BL 



AMERICAN HOT BAND ( HUCKO, POWELL . MCK I IV'L 
EY ETC. ) 

PLEASE DONT TALK ABOUT Me/hOW HIGHJAZZCLUE N 
ANDY BOY 

JIVE BL/LONESOME WITH BL BB 6893 N 

LOU IS ARMSTRONG 



SITTIN IM DARK/HUSTLIN BUSTL I N BB 7506 E 

I WANT LITTLE GIRl/bl YESTERDAY SW 223 N 
GRAEME BELL 

BABY WONT U PLEASE/b I RM INGHAM FRPAC90000 N 
. B IMG CROSBY 

WITH BOB CRIMEA FOR 2/yES INDEED OE 3689 E 
WITH HERMAN )wH I STLERS MA IN LAW OE 397l N 

JOHNNY DODOS BLACK BOTTOM STOMPERS 
WILD man (25)/melancholy(28) BR 3567 E- 

TOM DORSE Y ( TRUM PET SOLO ) 
TIGER RAG/RIGHT HERE FOR U OK 4||78g/v 

DUKE ELLINGTON 
ESQUIRE SWANK/MIDRIFF SW 230 N 

LIONEL HAMPTON 
SHOE SHINERS DRAg/mOOO SWING VI 26011 E 

HARLEM HOT CHOCOLATES (DUKE ) 
ST JAMES INF HOW 1046 V 

FLETCHER HENOERSON 

IM COMING VA/WHITEMAN ST CO I059MV+- 

QUEER NOTONS/CAN U TAKE IT VO 2583 E 

ROSA HENDERSON CHOP CHOP JAZZERS 
STRUT YO PUODy/sOMEBOOY DOIN WHAT AJ 17055 G 

12 st bl/meat man pete(suzie sm) AJ I 7081 V 
DAN HILL (SOUTH AFRICAN JAZZ) 

jivin joy/dont put BLAME MAME TRU 108 N 
EARL HIKES ORCH 

HAVE U EVER FELT THAT WAy/(mOTEn) VI 38048 G+ 
AHOY K IRK 

CHRISTOPHER COLUMBUs/f ROGG Y BOTTOMOE 729 E 
MESA STOMP/BLESS U MY DEAR DE 2204 E 

EDDIE LANG 

RA I BOW dreams/ jeanni ne PAE 2646 N 

LUMBERJACKS 

WHOOPEE STOMP/CAROLI NERS(LAMCR) CA 90 30 E 

CLAUDE LUTER 

WEST END BL/HIGH SOCIETY PACF900C9 N 

PIML I CO/CARELESS LOVE BL SW 262 N 

just gone/graveyard DREAM SW 268 N 

SISTER KATE/ORNAGE JAM SW 275 N 
JIMMY LYTELL 

FAKERS RHYTHM/ZULU WAIL PE I 4846 M 

RAY MCKINLEY TRIO ( HUC KO , POWEEL.MCK ) 
CHINA BOy/sHOEMAKERS APRON FRJC|3| N 

JIMMY NOONE APEX 

AINT M I SBEH/OFF TIME VO 1 581 9 G 

KING OLIVER 

MABELS DREAM/RIVERSIDE BL BRE 3575 N 

MEL POWELL 

HOMMAGE A DEBUSSY/HOMMAGE A WALLERVIB 9046 N 

MA RA INEY 

PICTURE LABEL— LOST WANDER I NG/DREAMPM 12098 G 

BESSIE SMITH 

MAMA GOT BL/OUTSIDE THAT CO 3900 V 

SAM JONES L/ST LOUIS GAL CO 13005 G+ 

BO WEAVIL BL/MOONSHINE BL CO 1 40 1 8 V- 

RECKLESS BL/SOBBIN HEARTED BL CO 1 4056 V- 

MY MAN BL/NOBODY BL BUT MINE CO 1 4098 G 

I BEEN MISTREATED/RED MT BL CO V 

MUDDY WATER/AFTER U GONE CO 1 41 97 V 
FRANK TRUMBAUER 



I LIKE TO DO THINGS/HAPPY FEET OK 41 42 1 E 

WASH I NGTON I ANS 
BLACK TAN FANTASY/sdT ILOQUY BR 3526 V 



CHICK WEBB 



OK 4 1 572 N 



I .05 
I .05 



LONESOME MOMENTS/BL MINOR 

PAUL WH I TEMAN 

GEORGIE PORGIE/u HAVE NO <RIM Ch) CO |4|9 V 

NOBODY SWEETHEART/AFTER U GONE CO 2098 V 

LIVIN I N SUNL IGHT/NEW KINDA LO CO 2|7| V 

JOE VENUT I EDO IE LANG 
sunshine/wilocat ok 40762 E 

DO I K THINGS/WILDCAT VI 2 1 56 I N 



41 





SALE SALE 
JAZZ RECORD CENTER 

107 WEST 47 ST., NYC, NY 


AUCTION 

THURMAN REEVES 

1902 MARINE PARKWAY, 


AUCTION 


eair 

ROY HIGGINSON 

BOX 484 CARLSBAD, CALIF. 


AUCTION 




1 NSURED, GUARANTEED NEW, IMMEDIATE 


NEW ORLEANS 19, LA. 








ANY DISC FOR SALE 50^EACH UNLESS HIGH- 






SHIPMENT. WE PAY SHIPPING AND PACK 










ER OFFER RECEIVED. "MINIMUM ORDER I 2. 






ING COSTS ON ORDERS OR $ 3.00 OR 










WINNERS NOTIFIED. 










MORE. SEND V.O. OR COD. 




















NEI RELEASE5 


ARMSTRONG HOT FIVE 








HENRY BUSSE 










LOU 1 3 S~"'.3 (FROM OK ) 


ALL-STATE WAr>'TS-,AKE OFFERS 








HAD BE U/STUMBL 1 NG 


DE 


1336 


E 




KING ZULUS/LONESOME BL 1.25 


BERTHA HILL (LOUIS, JONES) 








SAM OLD ACCORD 1 AN MAN/5'2" 


DE 


|265 


V+ 




DONT FORGET MESS/GONNA GETCHA HJCA 10 1.05 


KID MAN/LOWLAND BL 


OK 


B273 


E 


satisfied/by the way 


VI 


221 16 


E 




CASTLE" JAZZ 3AND 


NOLAN WELSH ( LOUS 1 .JONES ) 








TED F IC RITO 










ORYS CREOLE TROMBONE/GA CAMP CA 7 1 .05 


BIRDWELL/ST PETER BL 


OK 


8372 


E 


RIO RITA/LILLY LA GUN A 


DE 


4256 


V+ 




KING OLIVER 


LILY DELK CHRISTIAN (LOUIS 


HOT 


4) 




NO NO NORA/KING FOR DAY 


DE 


3936 


VI- 




• ORKINGUAN Bl/hIVERSIOE 3L HJCA 7 1.05 


TOO BUSY 


OK 


8596 


V 


FOOL FOR LOVING/EVERY MINUTE 


DE 


777 


v+ 




JELLY ROLL MORTON RED HOT PEPPERS 


LIL3 HOT SHOTS 








HOLD ME/SWEETHEART DARLING 




6555 


v+ 




BILLY GOAT STOMP/HYENA STOMP HJCA II 1.05 


CROP SACK/GEORGIA 30:0 


VO 


1037 


E 


TOMORROW ANOTHER DAy/tAYLOR 


VI 


22501 


E 




CLAUDE LUTER 


CLARENCE WILLIAMS BLUE 5 








DORSEY BROTHERS 










S.AFRICAN BL/PANAJ-A RAG C 1 ( BR ■ AL ■ ) 1 05 


W ILDCATBL/KANSAS CITY 


OK 


4925 


J+ 


Ml LENBERG JOYS/ST LOUIS BL 


DE 


1 1 ?e/v 




SPORT MODEL MAMA/TIGER RAG RAMP 5 1.05 


SARAH MARTIN AND C.W. BLUE 


5 






GETT1N SENT 1 MENTAl/l ^NG MAY WE 


DE 


1 15 


v+ 




BABY DODOS 


ATLANTA BL/BLIND MAN 


Ok 


8090 


E 


B 1 NG CROSBY 










MANHATTAN STOMp/aLBER TS BL CI 2002 1.05 


MARGARET JOHNSON (C.WMS BL 5) 






PARADISE ISLE/ALOHA KOO 


DE 


3797E/V 




KID ORY 


CHANGABLE DADDY 


OK 


8|25 


E 


LONE STAR TRAIl/bERKLY SQUARE 


DE 


3584 


E 




CIRCLE ALBUM (|2*) CI S-l 1 3. £3 


SARAH MART IN-C. WILLIAMS ( VOC DUET) 




GO FLY KITE/MAN AND DREAM 


DE 


264| 


E 




SNAG IT/SAVOY SL 'DOWN AMONG PALMs/wEARY BL 


SQUABBLIN BL 


0' 


8|03 


E 


PA'iL WHITEMAN 










FREE WIT!- EVERY $ 10.00 ORDER 


KING OLIVER 








CBI QUI T A /LONE SOME MOONLIGHT 


CO 


1448 


V 




ESQUIRE JAZZ BOOK 1947 1.00 


D | PPERMOUTH/WEA THERB 1 RD 


GE 


5132 


V 


WANG WANB Bl/aNY TIME WHERE 


VI 


16694 


v+ 




MEZZPOW BECHET OUINTET 


FARWELL Bl/sOBBIN 


BR 


374| 


E 


FROM MONDAY On/mIsS. MUD 


VI 


2|274 


v+ 




REALLY THE BL 1-2 KJ 1 46 I.C5 


JULIA JONES (P.BRAOFORD ) 








mi ss.mud/sugar/sweet lil 


VI 


20783 


e 




ALEXACDERS JAZZ BAND (BOB SCOBEY) 
BALL IN THE JACk/aCE IN HOLE TRI 22l .79 


DECEITF L BL 

AL WYNN GUT8UC KET FIVE 


GE 


5233- E 


RUBY VALLEE 

FLY 1 N DOWN RIO/QRCHIDS IN 


VI 


24459 


N 




SISTER KATE/»EARY BL Tfi| 242 .79 


WHEN/THAT CREOLE BAND 


OK 


8350 


V 


PIG GOT UP /GENT DOESNT 


VI 


25092 


N 




WILOVAN BL/4 LEAF CLOVER TRI 220 .79 


KANSAS C ITY FIVE 








MY TIME YOUR TIME/DEEP NGHT 


VI 


2784| 


E+ 




ECLIPSE ALLEY 5 (DODDS. GEO LEWIS) 


DARK GIRL/GET IT FIXED 


AJAXI728 


E 


TED WEEMS 










BUCKET GOT HOLE/GIRLS LOVE CI |0|2 1.05 


EDDIE AND SUGAR LOU HOTEL TYLER ORCH 




WALK 1 N BABY/LOST GAL (2) 


VI 


22637 


E 




FREE WITH EVERY ORDER 


YOYC BL/KWKH BLUES 


.■ 0 


1445 




PICCOLO PETE/HERE WE ARE 


VI 


22037 


E 




INFORMAL PHOTOGRAPHS . INDIVIDUAL OR GROUP 


JIMMY JOYS HOTEL ST ANTHONY 


ORCH 




YOUR CREAM COFFEE/ANYTHING 


VI 


21767 


E 




PHOTOS AS YOU REQUEST OF SUCH JAZZ ARTISTS 


RED HOT HENRY BROWN/FALLIN 


OK 


4C494 


. 


MISS ANABELLE LEE/BARBARA (2) 


VI 


20845 


E 




AS GEORGE BRUN IS JTONY PARENT 1 , BABY DODDS, 


GEORGE MC CLENNON JAZZ DEVILS 






CUTIES DUE TWO TO TWO/lM GOING 


VI 


20120 


V+ 




JAMES P.JOHNSON, HACKETT,ETC. 


BOX BL/DRK ALLEY 


'> 


8143 


E 


JIMMY DURANTE 










TONY PARENT IS RAGTIMERS (ALBUM) 


GEORGIA STRUTTERS 








INKA DINKA DO/HOT PATOOTIE 


BR 


6774 


V 




CIRCLE S-8 INCLUDING HYSTERICS RAG/SUNFLOWER 


GA GR IND/EVERY80DY MESS AROUND 


HA 


23 1 


V-t- 


1 UPS TO him/cAN BROADWAY DO 


CO 


I860 


V 




slow drag/parlene/grace and beauty/hia«atha 


DIXIE WASHBOARD BAND 








MIS6ELLANE0US SINGLES 










S»IPSY CAKE WALK. CI S-8 


LIVIN high/wait til u see 


CO 


|4|28 


E 


ELLIOT EVERT-W-S 1 DRUNK 


VI 


24085 


E 




KID ORY JAZZ BAND 


SALTY DOS SAM 








RAY NOBLE-ILL FOLLWO SECRET HEART 


VI 


24749 


N 




DO WHAT ORY SAY/CARELESS LOVE JM lOlO 1.05 


SLOW MAMA /NEW SALTY DOG 


OR 


81 06 


Q 


AMBROSE— HER NAME ROSITA 


DE 


3226 


V 




ORY CREOLE TC0M30NE/0R IG DIX JM 1025 1.05 


WILLIE JACKSON 








PHIL HARRIS-I GOT R 1 TZ 


VI 


22630 


E+ 




KID RENA DELTA JAZZ BAND 


KANSAS CITY BL/TB BL 


CO 


14284 


E 


SPIKE JONES-FUHRERS FACE 


BB 


1 1 586 


V 




CI=CLE ALBUM S-lO 4.98 


HALFWAY HOUSE DANCE ORCH 








CHICK. BULLOCK-EAST OF SUN 


ME 


350902 E 




LOUDOUN BL/GETTYSBERG MARCh/cLAR MARm/ 


N.O. SHUFFLE 


CO 


54 1 


E 


ANDREWS SI STERS/SUNNY BOY 


DE 


3871 


V 




MILEfBERG JOYS/PANAMA/HIGH 60CIETY RAG/GET 


PIRONS N.O. ORCH 








RESERS JUMPING JACKS-EGYPTIAN ELLABR 


6081 


V 




IT RIGHT/»EARY BLUES. 


N.O.WI GGLE 


VI 


19233 


E 


BOSTON BROWN 1 Es/l 1 TTLE MARY BROWN 


VI 


22844 


E 




PiPA MUTT C*PE' 


JOHNNY DE DROITS ORCH 








ABE LYMAN-LUCKY ME/LOVEABLE U 


BR 


4609 


E 




FIDGETY FEET/CHRYSANTHEMUM CI 4008 1 .05 


N.n. BLUES 


OK 


40090 


E 


P. VAN S TEE DEN-ALWAYS REMEMB SEPT 


VI 


22858 


V+ 




OSTRICH WALK/lNDI ANA CI 40 1 3 1.05 


JOHNNY MILLER N.O. FROL ICKERS 






RED NICHOLS 










'.es -:t : • 6.oc 


DIFPERMOUTH 


CO 


1546 


E 


PEG 0 MY HEART 


BR 


80004 


E 




ABOVE IS FREE WITH EVERY t 35.00 ORDER. 


JOHNNY BAYERSDORFER JAZZOLA 


ORCH 




C.HOPKINS-CHURCH ST SOBB 1 ' BL 


OE 


1286 


E 




PUNCH MILLER 


WAFFLE MAN CALL 


OK 


40133 


E 


JAN SAVITT-APRIL SHOWERS 


DE 


3695 


E 




DOWN BY RIVERSIDE/PANAMA CI 40|4 1.05 


FATE MARABLE SOCIETY SYNCO 








TERRY SHAND— CASEY JONES 


DE 


3714 


V 




shine/there SMALL HOTEL CI '005 1.05 


FRANKIE JOHNNY ( SCRATCHES ON OPP) 


OK 


401 13 


V 


EARL BURTNETT— TREES 


CO 


1 190 


V 




BUNK JOHNSON 


BROWNLEE ORCH OF N.O. 








BURTNETT TRIO-THIS IS HEAVEN 


BR 


4407 


E 




JADA/FOOR BUTTERFLY AM 5l4 1.05 


DIRTY RAG 


OK 


40337 


V+ 


L0M6ARD0-WITHERED ROSES 


CO 


1757 


E 




STUYVESAMT STOMPERSf BLUBBERG.WELLSTOOD ) 


HALFWAY HOUSE ORCH 








WYNE K 1 NG-G 1 ANNI NA MIA 


BR 


7963 


V+ 




BLUETAIL FLY/SHINE PX 1 1.05 


PUSSY CAT RAG 


OK 


40318 


.+ 


OKEH LAUGHING RECORO/gYPSY BARON 


OK 


4678 


V 




RED NICHOLS 


ORIGINAL CRESCENT CITY JAZZERS 






CAL STEWART— UNCLE JOSH BUYS AUTO 


VI 


17854 


V 




1 A I NT got nobody/brimingham REX 25070 .79 


SENSATION RAG 


OK 


40101 


E 


ALL AND PETE-PICCOLO PETE 


BR 


4625 


E 




LOUIS ARMSTRONG 


ORIGINAL N.O. RHYTHM KINGS 








JERRY COLONA/RD TO MANDALAY 


VO 


4056 


E 




vox album (vsp30) 3.93 


GOLDEN LEAF STRUT 


OK 


40327 




CLIFF EDWARDS-CHARLIE MY BOY 


PA 


32079 


V 




song vipers/tiger rag/st LOUIS bl/will u 


JELLY ROLL MORTON 








DUNCAN SISTERS-roDE IN DOSE 


VI 


22345 


V 




■ONT u/sUNNY SIDE STREET 1-2. 


GRANDPA SPELLS 

BE1SIE SMITH 


GE 


5218 


i 


H.M GUARDS BAND-HIAWATHA 

FRANK CRUM 1 T-PETURN GAY CABALLERO 


VI 
VI 


25229 
22154 


E+ 
E 






GIMME PIGFOOT 


OK 


8949 


E 


COTTON AND MORPHEUS— M 1 Ss/ MUD 


BR 


4040 


E 




WE CATER TO THE DISCRIMINATING COLLECTOR. 


PARAMOUNT JUBILEE SINGERS 








VAN & SCHENK— WAY DOWN S. IN 


CO 


1302 


E 




TAKING PR IDE IN OUR LARGE C0L1ECTI0N OF ITEMS 


WHEN SAINT COME MARCHING IN 


PM 


12073 


E 


FRANK LUTHER— WABASH MOON 


VS 


5086 


E 




ON ORIGINAL, REISSUE, AND FOREIGN LABELS, ALL 










JESSE CRAWFORD-AH SWEET MYSTERY 


MW 


4361 


E+ 




OUR PRICES ARE HELD AT A MINIMUM. 


THE NEW ORLEANS BLUE BOOK 








DICK LE 1 BERT ORGAN-STARDUST 


VI 


26712 


E+ 






SOCIAL DIRECTORY OF ELITE SOCIETY-CORRECTION 


EDDIE DUNSTETTER ORGAN— C 1 Rl B 1 R 1 B 1 NBR 


4902 


V+ 






REO LIGHT SOCIETY OF FABULOUS OLD 


STROYVILLE 


LOU WHITE ORGAN-ALL DEPENDS ON U 


BR 


3489 


V+- 




WEVARE SEEKING MORE FOREIGN CONTACTS. WE WOULI 


PUBLISHED IN N.O. CIRCA 1 91 0. GOOD CONDITION 


1 CTOR SALON-I F 1 HAD U 


VI 


21926 


E 




LIKE TO HEAR FROM MORE OF OUR JAZZ COLLECTOR 










VICTOR NOVELTY— 1 LOVE U TRULY 


VI 


22324 


N 




FRIENDS A8ROA0. 


REQUESTS FOR OTHER ITEMS GIVEN ALL CONSIDER 


LOUIS KA TZM AN— WA S IT DREAM 


BR 


3993 


E 




EVERYTHING FROM BUNK TO MONK. 


AT ION. RETURN OF UNSATISFACTORY ITEM E 


R INGS 




MARIMBA CENTPO— LOVER COME BACK 


VI 


46278E+ 






PROMPT REFUND OF FULL AMOUNT PAID 








FOR SALE 




















BRUSH PL2Z HI-FI PITKUP CARTRIDGE 


COST $ 1 0 
















BUT WILL NOT FIT MY PHONO ARM. SELL 


84.00 














PHONO OSC FROM SEARS WIRELESS PLAYER 


4.00 



42 



«SAT.P SALE 


AUCTION 


AUCTION 


SALE SALE 


LEONARD H. BENSON 




FRED MANGELSDORFF 




WALNUT MUSIC SHOP 


40 W. 4CST. NYC |8, HY 




959 N. |4th ST., MILWAUKEE 


1118 WALNUT ST., 


8 5.00 MINIMUM ORDER. COLLECT POSTAGE 


COD 


W 1 SC ONS 1 W 






PHILADELPHIA, PA. 


IF DESIRED. ALL RECORDS V OR BETTER. 










NO COD. SEND YOUR WANTS AND YOU WILL BE 












NOTIFIED? RECORDS THEN SHIPPED PP PREPAID. 


CHARLIE EARNET 




TOMMY DORSEY 






NEVER A CHARGE FOR PACKING OR SHIPPING. 


NEW REDSKIN RUMBA/CHEROKEE 


1.25 


WHERE 1 S I'Y HLAP 1 /LUNG AGO FAR 


VI 


25335 E 


ALL YOU PAY IS THE PRICE OF THE RECORDS. 


KNOCK IN FAMOUS D00r/t|N ROOF BL 


1 .25 


MOAN 1 N M0RN1N/C0WN WITH LOVE 


V 1 


25692 E 


RECORDS IN THIS AD ARE IEW MINT. 


Tf'PFIN TAPPa/coMANCHE WAR 


1 .25 


ALAOI BABY/HES GYPY FROM 


VI 


25577 v 


HOT JAZZ CLUB OF AMERICA RELEASES I .05 


PONCE DE LECN/HTTLE DIP 


1 .00 


MORNING AFTER/l MAY BE WRONG 


VI 


25703 E 


OL i VEP-HUUM HLNl/AINI UUNNA 1 LLL RX T 


SOUTHLAND SHUFFLE/CLAP HANDS 


1 .00 


music goes round/rhythm IN MY 


VI 


25201 v/e 


OLIVER-MABELS DREAM/SWEET BABY HC 2 


LOls/sPANISH KICK 


1 .00 


MARCHING ALONG/ThlS TIME ITS 


VI 


25862 E 


LOUIS HOT 5-1 PISH BLACK/U MADE ME HC 3 


COUNT BAS IE (MOST ON BB) 




josephine/if man in moon were 


VI 


25676v/e 


JELLY ROLL-LONDON BL/SOMEDAY SWEETHC 4 


|2 ST rag/jump for me 


1 .50 


TISKE.T TASKET/AS LONG AS LIVE 


VI 


25B99 E 


HOT FIVE-JAZZ LIPS/CAKE WALKIN BABHC 5 


TAUI IAR DANCE/BE WITH U 


1 .50 


who/dipsy DOODLE 


VI 


25693 E 


OLIVER-JAZZIN BAB 1 Es/TUXEDO RAG HC 6 


EVERY TUB/BE GOOD 


1 .50 


U GOT SOMETHING THERe/hAV EU GOT 


V 1 


25634 E 


OLIVER-RIVERSIDE Bl/wORK 1 NGMAN BL HC 7 


ALL OF ME/RUSTY CUSTY BL 


1 .25 


BIA CK EYES/BLUE DANUBE 


VI 


25556 E 


OLIVER-SOBBIN BL/SWEET LOVIN MAN HC 8 


MISS THING 1-2 


1 .50 


STARDUST ON MOON/HAVING WONDERFUL 


VI 


25630E/V 


LOUIS HOT FIVE-BIG FAT MA/sWEET PAHC 9 


THE KING/BL SKIES 


1 .25 


SAYS MY HEART/U LEAVE ME BREATHLESS 


25828 E 


LOUIS HOT 5— GONNA GITCHA/MESS HC 10 


oosgim apclnd/bl SENTIMENTAL 


1 .25 


BENNY GOODMAN 






JELLY ROLL-HYENA STOMB/iJILLY GOAT HC II 


BAS IE BOOGIE/LET ME SEE 


1 .25 


BL ROOM/MAKE BELIEVE 


VI 


26088 E 


OODDS HOT 6-PENCIL PAPa/swEET LOR HC 1 2 


pound cake/clap hands 


i .25 


KING PORTER/SOMETIMES IM HAPPY 


VI 


25090n/g 


DUMA 1 NE 8— RED ONION D RAg/fRANKL 1 N HC |3 


TIMF OUT/LET ME DREAM 


1 .25 


JAM SESSION/SOMEBODY LOVES ME 


VI 


25497 E 


DUMA 1 NE 8-TO WA BAC a/frETTY AUDR HC |4 


johiis ioea/i OCL JUMP 


1 .50 


ONE OCL JUMP/DONT BE THAT WAY 


VI 


25792 E+ 


JELLY ROLL-DIXIE HOME/THATS LIKE HC |5 


JUMPIN W0CDS1 DE/DAFK RAPTURE 


1 .50 


STOMFIN SAVOY/BREAK IN IN PAIR 


V 1 


25247 E 


LOUIS 5-SUNBET CAFE/BUTTER EGG HC 16 


cherokee/i-2 


1 .50 


SING SING SING 1-2 


VI 


257',tv/N 


OLIVER-LONDON CAFE/CAMP MEETING BLHC |7 


texas shuffle/no peas rice 


1 .50 


BUGLF CALL RAg/aFTER U GONE 


VI 


25467 N- 


LOUIS-TEXAS MOANER/COAL CART HC 18 


LADY BE GOOD/DEPEND ON ME 


1 .25 


EXACTLY LIKE u/lOVE ME LEAVE ME 


VI 


25406 e/n 


DODDS— MY GIRL/KEEP EM CLEAN HC 19 


aOCKAEYE basie/tell ON ME 


1 .25 


MARGI E/FAREWELL BL 


BB 


I0973V/E 


GRAEME BELL 2.25 


PETE BROWN 




WHERE OR WHEN/l CRED FOR U 


BB 


1 I465E/G 


BIRMINGHAM BERTHA /BA BY WONT U FPAC 90000 


FAT mans bocg/curfew 


1 .25 


SOMEBODY NOBOOY LOVEs/lETS GIVE LOVOK 6562 E 


JELLY ROLL/TIGER RAG FPAC 9CCC2 


PETF BROWNS BOOG/BELLEVUE 


1 .25 


LITTLE COUSIN/ZOOT SUIT 


OK 


6606 E 


CANAL ST 8L/G0T WHAT TAKES FPAC 90C03 


PUSHIN MOF /PLAIN SHUFFLE 


1 .25 


WINTEF WEATHER/EVERYTHING 1 LOVE 


OK 


651 6 E 


DEEP PAC 1 F 1 c/DARKTOWN STRUTTERS FPAC 90004 


1 MA V BE WRONG/DEPEND ON U 


1 .25 


ART IE SHAW 






CLAUDE LUTER 


DON BYAS 




NOCTURNE/THRU THE Y EKRS 


VI 


277C3E/N 


HIGH SOCIETY/WEST END FPAC 90CC92.25 


SLAia.ORY/SMOKE GETS IN 


1 .25 


stardust/temptati on 


VI 


27230 N- 


NEW CIRCLE ALBUM S-14 CI 143.93 


CALL 1 T MADNESS/SHOULD 1 


1 .25 


1 HAD u/HAD TO BE U 


VI 


26436 E 


SWEET LOVIN MAtj/wEARY WAY BL/p ANAMa/s .AFR 1 CA 


DARK EYES/OE P PURPLE 


1 .25 


SUMMIT RIDffE DRIVe/aCROSS YOUR HEAPV 1 26763e/v 


-l/gatemouth/snake rag. 


EDD IE DAV IS 




FRENESI /aD 1 OS MARCHITA 


VI 


26542 n 


WILDCAT BLUE s/ORY CREOLE TR RAMP 4 1.05 


lock jaw/doghouse 


1 .00 


ga on mimd/why SHOULDNT 1 


VI 


27499 E+ 


TIGER RAG/SPORT MODEL MAMA RAMP 5 1.05 


licks a plenty/lover 


1 .00 


MELLOW GLOW/SERENADE SAVAGE 


VI 


27549 E 


ORIGINAL FRENCH ISSUES AVAILABLE BY DIRECT 


surgery/athletes foot 


1 .00 


MY BL HEAVEN/MOON GLOW 


VI 


27405 E+ 


ORDER. SIX WEEKSSERVICE 


BENNY GOODMAN SEXTET (FIRST 4 ALBUM ) 


MARLENA/l COVER WATERFRONT 


v .l 


27362 E 


REX STEWART (ALL 1 .50) 


ROSE room/flying home 


1 .00 


TRAFFIC JAM/DANCING IN DARK 


V 1 


27548 E- 


BARCLAYS CLUB/jUG BL FBLST 64 


AIRMAIL SPECIAL/GRAND SLAM 


1 .00 


TEMPT AT 1 On/sTAR DUST 


VI 


27230 v 


JUST SQUEEZE ME/BEBOP BOOGIE FBLST 65 


POOR BUTTERFLY/vJANG WANG BL 


1 .00 


bill/carioca 


BB 


|0|24 E 


BOY MEETS HORN/OONT GET AROUND FBLST 66 


NEW ABBy/lONG AS 1 LIVE 


1 .00 


1 HAVE EYES/YOUR SWEET THING 


BB 


7889E/V 


FEELIN FINE/l CRIED FOR U FBLST 67 


ticer rag/aint MISBEHAVIN 


1 .00 


ALL IN FUN/ALL THINGS U ARE 


BB 


10492 E- 


STOMPIN BAVOY/LUCK 1 EST FOOL FBLST 68 


FUNNY THAT WAu/l GOT RHYTHM 


1 .00 


DAY AFTER DAY/DEEP IN DREAM 


3B 


10046 V+ 


LU WATTERS,BUNK JOHNSON, KID ORY.ALL JAZZMAN 


ONE THCSE THINGS/CHINA BOY 


1 .00 


THIS IS IT/lTS ALL YOURS 


38 


|0|4| E 


WEST COAST, AM, AND EXNER . 


shi ne/packels DREAM 


1 .00 


NIGHTMARE ( THEME )/nON STOP FLIGHT 


BB 


7875n/e 


SPECIAL EDITIONS STILL IN STOCK NOW 1.05 


ROVL GARDEN/HOLY CATS 


1.00 


EASY TO SAv/|LL RMEMEBER 


BB 


10345 E— 


DUKEHUOONLICHT F 1 ESTA/jUB 1 LESTA ' 5007 


GUNNY SICE/ALL 1 NEED 


1 .00 


1 SURRENDER/LADY BE GOOD 


BB 


10430 E 


BESSIE-ST LOUIS BL/RECKLESS BL 50 10 


SLIPPED DISC/OOMPH FAHFAH 


1.00 


GENE KRUPA 






DODDS— GA TEMOUTH— PER D 1 DO ST BL 5008 


HIYA SOPHIE/BABY HAVE U GOT 


1.00 


BLUEBERRY HILl/orCHIDS FOR REM 


OK 


5672 N— 


W 1 NG 1 E— NEVER HAD LOVIn/alONE 5011 


nagasaki/gotta get gipl 


1.00 


THANKS FOR BOOG RIDE/KEEP EM FLY 


OK 


6506 E 


BENNY-RIFF IN S COTCh/mOTHERS SON 5009 


BENNY GOODMAN 




DRUMMER BOY/LOOKIN FOR YESTERDAY 


OK 


5747 E 


HOAGY— HONG KONG Bl/RIVERBOAT SH 50 1 2 


lets do it/tke earl 


1 .00 


LETS GET AWAY FROM IT ALL/jUST A 


OK 


6130V/E 


bix-margie/someone STOLE GAL 5013 


whistle el/lonely moments 


.75 


LOVE ME AS 1 AM/AFRAID SAY HELLO 


OK 


6255 N- 


OLIVER-SNAKE RAG/HIGH SOCIETY 50|6 


DARRTOV N STRUTTERS/AFTER U GONE 


1 .25 


COPPIN A PLEA/VIOLETS FRO FURS 


OK 


6498 E 


IMPORTED RECORDS 


RIFFIN RITZ/ALFX RAG BAND 


1.25 


GREEN EYES/THROW IN PEBBLES 


OK 


6222v/e 


WE HAVE IN STOCK ALWAYS THE LARGEST SELECT- 


cats join in/ocnt BABY 


1.25 


1 TAKE TO U/WHERE U A RE 


OK 


6 1 87 N- 


ION OF IMPORTS IN PHILADELPHIA. ALL THESE 


DOORKNOB HI TCHA/PERF ID 1 A 


1 .50 


rancho pillow/u WERE THERE 


OK 


6376 N- 


NAMES AND OTHERS ON HMV, PAE, COE, FPAC, OD, 


SOLO flight/v/orld waiting 


1.25 


MARIE ELENA/RENDEZVOUS IN RIO 


OK 


6 165 N- 


BRE, SW. ARMSTRONG, BANKS, BARNET , BECHET, BIX, 


DO RIGHT/SIX FLATS 


1 .25 


flmingo/let me off uptown 


OK 


621 0 E 


GRAEME BELL, BER 1 GAN, B 1 GARD, WILLY BRYA NT, CA RTER 


ONE OCL JUMP/CONT BE THAT WAY 


1 .50 


THINGS 1 LOVE/LITTLE MAN WITH CAN 


OK 


6143 E 


CASA L CM A, CONDON, CROSBY, DORSEY, DUKE, FREEMAN, 


THIS OR THAT 1-2 




SWEET GA BROWN/DOWN BY OLD 


OK 


6070 V+ 


GOODMAN, HA CKETT, HAMPTON, HAWK 1 N S, HEND ERSON, 


OH DA6Y 1-2 ( 12" ) 


1.25 


CHANGES MADE/THESE THINGS 


OK 


602 1 E 


HI MES, HODGES, HOL 1 DAY, HUTTON,KRMPA ,M EZ Z ,M 1 LLER , 


superman/more THAN U K NOW (|2") 


1 .50 


MU9DER HE AYS/MASSACHUSETTS 


OK 


6695v/e 


MCKENZIE,MCK 1 NNEY ,M A HONEY ,MOLE ,MORT ON ,0L 1 VER, 


SING SING SING 1-2 ( 12" ) 


1 .25 


GLENN MILLER 






RUSEELL, SHAW, SMI TH, STEWART, SULLI V AN , TEA GA RDEN 


BENNY RISES/MAN 1 LOVE (|2") 


1 .50 


C 1 R 1 B 1 R 1 Bl N/OH JOHNNY 


BB 


|0507e/v 


VENUTI ,TRUMBAUER, WALLER, VARI OUS JAZZ GROUPS. 


LIONEL HAMPTON 




LITTLE BROWN JUG/pAVANNE 


BB 


10286 E 




FLYING HOME/lN THE BAG 


1.50 


FALLING LEAVES/BEAT ME DADDY 


BB 


10876 V 


ALL DOMESTIC JAZZ LABELS IN STOCK AT ALL 


SALTY LL/CHORD A RE80P 


1 .00 


MAN MANDOLIN/LITTLE MAN WASNT TH 


BB 


10358 V4 


TIMES. 


buelahs boogie/million DOLLAR SMILE 


1 .00 


DANNY BOY/TUXEDO JUNCTION(SM DIG) 


BB 


i06i2e/v 




FLYING HOME #2/PUNCH JUDY 


1 .00 


l know why/chatanooga choo 


BB 


11230 E- 


SEND US YOUR WANT LISTS NOW. PROMPT SERVICE 


HEY DOB A REBOB/SLIDE HAMP 


1.00 


MOONLIGHT COCK TA 1 L/HAPP Y IN LOVE 


BB 


i i4on/f 


GUARANTEED. YOUR ANSWER WILL BE IN THE MAIL 


COLEMAf' HAWKINS 




LAMPLIGHTERS S ERENADE/DONT SIT UNDER 


1 1 474 E 


THE SAME MORNING YOUR LETTER RECEIVED. 


TALK OF TOWN/STUFFY 


1 .25 


perfidia/spring will be sad 


BB 


1 1 095e/v 




CRAZY RHYTHM/GET HAPPY 


1 .25 


DAYDREAMING/STRING OF PEARLS 


BB 


1 1 382 E 




MY IDEAL/HOP MOP 


1 .25 


SKYLAPK/STORY STARRY 


BB 


1 1462 E 




DO NT (ILAME ME/HALLELUJAH (|2") 


1.50 


shuteye/how id like to be 


BB 


lOl 39 E 




JUST ONE THOSE THINGS/MAKE BELIEVE ( 1 2" 


)l.50 


IN THE MOOD/wANTA BE HAPPY 


B B 


1 04 | 6e/iv 





43 



AUCTION AUCTION 
ART MESSENGER 


AUCTION 

EZRA TERRY 


AUCTION 


SALE 

RECORDS BY MAIL 


SALE 


1953 f. 73 ST., LOS ANGELES 






DORSET, VERMONT 






3 SOUTH HOWARD ST..BALT IMORE 






CALIFORNIA 








WINNERS NOTIFIED AND WINNERS RECORDS 


MARYLAND 








WINNERS NOTIFIED. COD DELIVERY. 








SHIPPED PP COD UNLESS OTHERWISE INSTR. 
25i PKG CHG ON WINNING BIDS OF UNDER$5.00. 


RECORDS SHIPPED COD PP. INSURED, NO 
PKG CHG. WE PAY POSTAGE ON PREPAID 




GLENN MILLER 








FRANC IS W 1 LL 1 A MS 






ORDERS OF $5.00 OR MORE AND COD ORD 




MOON love'cinderella 


BB 


1C303 




BOTTOMS UP/BIGGER BETTER 


BR 


4503 V 


ERS OF $ 8.00 OR MORE. 








ANV IL CHORUS 1-2 




1 0982 


n 


PAUL WH ITEMAN 






CHARLES DELAUNAYS NEW HOT D 1 SC OGRAPHY 


6. CO 


chapel hill/volga boatmen 




I 1 029 


E 


YONDER N.O. /DEAREST 


VI 


19030 V 


LOUIS ARMSTRONG 








ADIOS/CANADl AN SKIES 




I I 2 1 9 


E 


WHITEWAN WITH F.TRAUH. 






BIG BUTTER EGG/fUNSET CAFE ST 


HC 


16 


1 .05 


choo choo/i know »ky 




I 1 230 


IH 


BOUNCING BALL/SUN SPOTS 


V 1 


24574 V 


TEXAS MOANER/COAL CART BL 


HC 


18 


1 .05 


kiss polka/sun valley 




1 1 263 


E 


CHICK W EBB WITH ELLA FITZ 






BIG FAT MA/SWWET PA 


HC 


9 


1 .05 


ELMERS TUNe/oELILAH 




I 1 274 


E 


up a tree/have mercy 


DE 


2468 E 


KING OLIVER 








DEAR ARABELLA/ORANGE LANE 




I 1 326 


E 


ETHEL WATERS 






LONDON CAFE BL/CAMP MEETING BL 


HC 


17 


1 .05 


0 REAMS V 1 LLE/n 1 CCOLI M 




1 I 342 


E 


SWEET MAN/OINSH 


CO 


487 g 


ROOM R ENT Bl/a|NT GONNA TELL 


HC 


1 


1 .05 


JINGLE BELLS/SANTA CLAUS 




1 1353 


V-t 


RUDY VALLEE 






JOHNNY DODDS 








BABY MINE/l LOVE 




1 1365 


E 


lazy bones/heart stone 


BB 


5 I |4v/e 


SWEEP EM CLEAN/MY GIRL 


HC 


19 


1 .05 


STPING PEARLS/DAY DREAM 




1 1382 


vh 


ARTIE SHAW 






JELLY ROLL MORTON 








CLIFFS DOVER/COUPLE IN CASTLE 




1 1397 


EH 


poiciana/im in love with 


BB 


101 88 V 


LONDON BL/fOMEDAY SWEET HEART 


HC 


4 


1.05 


ANGELS MERCY/PRES BALL 




1 1429 


E 


PASTEL BLUE/DEEP PURPLE 


BB 


|0|76g/v 


MY LITTLE DIXIE/THATS LIKE OUGHTHC 


15 


1 .05 


DEAR MOM/KEEP FLYING 




1 |443 


EH 


REVELERS 






CREEPY FEELING/FINGER BUSTER 


JM 


12 


1 .05 


cup coffee/old black 




1 1450 


U 


FOUR LEAF CLOVER ( R 1 MCH )/| N LOVE 


VI 


20678v/g 


WININ BOY BL/HONKY TONK MUSIC 


JM 


1 1 


1 .05 


skylark/starry night 




1 1462 


EH 


RAMOMA AND GANG 






JIMMY BLVTHE 








laupl ighters/apple tree 




1 1474 


EH 


EVERY NOW AND THEn/nO STRINGS 


VI 


25138 V 


MESSIN AROUND/ADAMS APPLE 


CE 


3029 


1 .05 


ASSEMBLY L 1 NE/mARCH 1 NG HOME 




1 1480 


■ 1 


RAY NOBLE 






CHICAGO RHYTHM KINGS 








AMERICAN PATROL/SOLDIER LET 


VI 


27673 


V 


EMPTY SADDLES/BIG CHIEF 


VI 


25346 V 


SONG of wanderer/changes MADE 


CE 


4016 


1.05 


SLEEP SONg/eLOISE 




27879 


EH 


GERTRUDE NE 1 SEN 






BUD JACOBSONS JUNGLE KINGS 






kniw one/lullabye rain 




27894 




BLAME IT ON RUMBA/'TOP OF TOWN 


BR 


7818 G 


CLARINEW M ARM/LAUGH | N _ AT U 


CE 


4015 


1 .05 


humming bird/gardenias 




27933 


1 1 


HELEN MORGAN 






STAN KENTON 








at last/kalamazoo 




27934 


1 H 


MORE THAN U KNOW/WHAT WOULDNT 


VI 


22i49g/v 


ARTISTRY RHYTHM/ARTISTRY JUMPS 


CP 


15190 


.79 


SERENADE IN Bl/sABOTAGE 




27935 


E 


GLENN MILLER 






HARLEM FOLK DANCE/EAGER BEAVER 


CP 


15192 


.79 


de/rly beloved/old fashioned 




27953 


ti 


MAN MAT D0L1N/LITTLE MAN WHO 


BB 


10358 V 


RED NORVO 








8ING CROSBY 








APRIL PALYED F 1 DDL e/ha VENT TIME 


BB 


1 0694E/V 


congo bl/get HAPPY 


COMET 7 


1 .58 


honest with me/goodbye 


DE 


3856 


H 


STAIRWAY TO STARS/ 


BB 


1 0276V /g 


HALLELUJAH/SLAM SLAM BL 


COMET 6 


1 .58 


GOT NOBODy/whISTLERS 




3971 


E 


JEANETTE MAC DONALD 






CYRIL HAYNES 








CLEVENTI NE/OAY DREAMS 




4033 




DREAM L VEr/mARCH GRENADIERS 


VI 


22247 G 


MORNINGMADNESS/SAD THURSDAY 


COMET 8 


1.58 


ANNIVERSARY WALTz/shEPA RO SERENADE 


4065 


= + 


TED LEWIS 






ACROSS THE RD/CEDAR MANOR 


COMET 5 


1 .58 


MEMORY *ALTZ/MARYS NAME 




I836C 


EH 


ALL BY MYSELF/( HAPPY Six) DIG 


CO 


3434G/V 


DIZZY GILLESPIE 








NOBODY OARL 1 KG/wH 1 TE AZALEA 




18391 


f + 


IM COMIN BACK TO u/(YERKEs) 


CO 


3400 G 


cool breeze/manteca 


VI 203023 


.75 


GREAT GR A NDFA THEr/bOMB SONG 




18432 


1 - 


homesi ch/tomorrow 


CO 


3709 G 


COLEMAN HAWKINS 








darling/become sally 




18531 


+ 


WHEN MY BABY SMILE/(kEN SERENED 


CO 


2908v/g 


APRIL paris/how strange 


vi 203 057 


.75 


SONDAY MONDAy/|F u please 




18561 


E-t 


1 LOVE U SUNDAY/HULA BL 


CO 


3306G/V 


1 SURRENDER DEAr/| CANT BELIEVE 


CMS 


1506 


1 .58 


AFTER FOREVER/COULD HAPPEN 




18580 


; + 


CUT SELF CAKE/( WESTPHAl) (d IG ) 


CO 


3944 e 


MY IDEAL/MOP MOP 


CMS 


548 


1 .05 


OUT OF WORLD/JUNE EVERY YR 




18675 


E + 


blues/(yerkes) 


CO 


2798e/v 


BILLY HOLIDAY 








FRIEND OF YOURS/ALL MY LIFE 




18658 


F + 


GENE KRUPA 






yesterdays/gotta RIGHT TO SING 


CMS 


527 


1 .05 


STRANGE MUSIC/MORE MORE MORE 




18649 


" + 


IVE GOT EYES ON u/lOVER IS BL 


CO 


3536 1 v/e 


ILL BE SEEING u/lLL GET BY 


CMS 


553 


1 .05 


evel ina/eagle AND ME 




18635 


r + 


HAL KEMP 






SHES FUNNY THAT WAy/hOW AM 1 


CMS 


569 


1 .05 


TOO RA LOO Ra/rEMEUBER APRIL 




18621 


f + 


MUSIC GOES ROUND/DINNER FOR 1 


BB 


7587V/G 


CHUBBY JACKSON 








GOING MY HAY/SWING STAR 




18597 


r + 


AL JXSON 






NORTHWEST PASSAGE/CRYING SANDS 


KY 


616 


1 .05 


1 LOVE u/sEEING U 




18595 


r+ 


THAT LOVIN TRAUMER£|/(MURRAY ) 


VI 


|7||9 V 


CHU BERRY 








poinciana/sun valley 




18586 


j 


BENNY GOODMAN 






SUNNY SIDE ST/BABY A 1 NT 1 GOOD 


CMS 


508 


1 .05 


IF 1 LOVED u/CLOBE PAGES 




18636 


r + 


JAMS ESS 1 ON/SOMEBODY LOVES ME 


VI 


25497 V 


SITTIN IN/46 W 52 


CMS 


516 


1 .05 


symphony/beautiful LOVE 




18735 


f+ 


WHEN LADY MEETS/SONG DANCE 


VI 


25434 v 


GEORGE HARTMAN 








day e\ day/things u do 




18746 


r + 


CANT PULL WOOL/GLORY OF LOVE 


VI 


25316 V 


JAZZ ME BL/TIN ROOF BL 


KY 


601 


1 .05 


WOODY HERMAN 








SCATTERBRAI N/ONE SWEET LETTER 


CO 


35241 V 


MUSCRAT RAMBLE/DIGA D 1 GA 000 


KY 


602 


1 .05 


8L PARAOE/LOVES GOT ME 


DE 


2933 


v' + 


1 LET SONG GO/FEELIN HIGH 


V 1 


25840 V 


MAX KAMIMSKY 








GOLOEN WEDDING/5 OCL WHISTLE 




3436 


V 


LITTLE KISS/WHAT GOES ON 


VI 


25878v/g 


eccentric/guess WHOS IN TOWN 


CMS 


560 


1 .05 


8L flame/trappers BALL 




3643 


V 


ALM GLUCK,LOU IS HOMER 






GEORGE BRUNIS 








HEY DOc/NIGHT WOMAN 




3889 


u 


CONTES DE HOFFMAN— BARCAROLE 


VI 


87202V 


UGLY chile/dada strain 


CMS 


546 


1.05 


Tis autumn/on my way 




4095 


/+ 


GALLAGHER AND SHEAN 






MEL POWELL 








SINGING SANDS/ST JOE 




4372 


V 


MR GAL 4 MR SHEAN 1-2 


VI 


18941 V 


BL SKIES/WHEN DID U LEAVE HEAVENCMS 


5461 .05 


south/fan it 




3761 


v + 


TOMMY DORSE Y 






BOYD RAEBURN 








BYE U 8YE O/MISERLOU 




4024 


E 


DID 1 REMEMBER/MARY HAO LITTLE 


VI 


25341 V 


BOYD MEETS STRAV 1 NSKY/ONLY HAD 


JE 


10002 


1 .05 


amen/deliver me 




18346 


V- 


ARE U HAVIN FUN/GOODN 1 GHT MY 


VI 


26335 V 


toncilectomy/forgetful 


JE 


10000 


1 .05 


1 DOOB IT/bISENCOLRAGE 




1 8506 


V 


good morning/mt MUSIC 


VI 


25581 V 


YERXA/RIP VAN WINKLE 


JE 


1 000 1 


1 .05 


down under/furlough 




18544 


v+ 


DANCING MOOD/TEA ON TERRACE 


V 1 


25476 V 


PHIL NAPOLEONS EMPERORS 








music stop/sleep wink 




18577 


E 


KEEP OUT OF MIS/TMERES FROST 


VI 


25482 E 


SISTER KATE/NEVER HE THE SAME 


SW 


7510 


1 .05 


who dad/love u tonight 




I86i9 


F.+ 


sleep/wake up live 


VI 


25573g/v 


ED HALL 4 T . W ILSON 








BL ON PARADE ALBUM 








WHOLL BUY VIOLETS/MELODY IN F 


VI 


25519 N 


CARAVAN/SHANTY OLD SHANTY 


CMS 


557 


1 .05 


TWIN CI Ty/lAUGHING BOY 




1801 


E+ 


AM i proud/easy DOES it 


VI 


26429 V 


KANSAS CITY SIX 








UPSTA I RS/DOWNSTA I RS 




2508 E+ 


EVERY MINUTE/GOTTA GO TO 


VI 


25256v/e 


1 GOT rhythm/jojo 


CMS 


555 


1 .05 


casbah/farewell 




2582 


r + 


BOB CROSBY 






JOE BUSHKIN 








DALLAS/r I V ER ED 




2629 


E+ 


WHAT HAVE U GOT/U LOVELY 


DE 


21 42 E 


ga on mind/pick in AT PIC 


CMS 


565 


1 .05 


cal iope/dupree 




3500 


E+ 


B 1 NG CROSBY 






GEORGE WETTLING 








peach tree/on parade 




3501 


E+ 


IM hummin/give me heart 


BR 


6953g/v 


STRUTTIN BARBECUE/HOW COME U DO 


CMS 


561 


1 .05 


LIONEL HAMPTON 








MY KINDA LOVE/TIL WE MEET 


CO 


|773 E 


RED MC KENZIE 








sunny side/no you 


VI 


22592 


F + 


VAUGHN DELEATH 






TALK OF TOWN/WHEREVER THESE LOVECMS 


562 


1 .05 


FIDDLE DE Oe/aT BEACON 


VI 


27364 


£+ 


BABY YOUR MOTHER/ARE U 


VI 


20873 V 


T 1 NY GR IMES 








LOOSE WIG/OVERTIME 


DE 




LH 


LARRY CL INTON 






FLYING HOME 1-2 


BN 


524 


1 .05 


ARTIE SHAW 








UILENBERG JOYS/0 1 PPERMOUTH 


VI 


260 1 8E A 


DEPAR IS BROTHERS ORCH 








nightmare/nonstop 


BB 


7875 


V+ 


CAB CALLOWAY 






SHEIK ARABY/CHANGE 0 KEY BL 


CMS 


565 


1 .05 


JIMMY LUNCEFORD 








COPPER COLORED GAl/mR MRS SWING 


BR 


7748n/e 


LU WATTERS 








album DE I340,iei7,l°27,35|4,35l5 






E+ 








LONDON BL/SINSET CAFEVSTOMP 


JM 


14 


1 .05 





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ft 



LATE NEWS FROM COAST TO COAST 



NEW YORK 

Charlie Traeger has opened with a trio at 
Mona's in Greenwich Village. Bob Pavese, 
great new piano man is featured with Traeger, 
who is best known for his appearances at the 
Stuyvesant and Central Plaza and with the 
Wilber Wildcats on records. The Jaiz Band 
Balls at both these joints are continuing to 
bring to Gothamites the best Jazz in town. 
Josh White and Leadbelly sang duets for half 
an hour the other night and the crowd ate it 
up. Latest attraction at the Central has been 
Big Chief Russell Moore the only full fledged 
Indian to play jazz. His instrument is trom- 
bone and was most recently heard with Louis' 
big band. Lee Collins is expected in New 
York this month and should be heard at the 
Central. 

At Ryan's Chippie Hill has been singing 
duets with stage star Tallulah Bankhead. If 
you have ever seen and heard Miss Bankhead 
you'll know why these impromptue vocals are 
worth catching. Sol Yaged, who plays and 
looks more like Benny Goodman than any 
musician we've ever seen, has moved across 
the street to the newly decorated Three 
Dueces. 




Monette Moore found herself penniless when 
her hotel room was burned up in a big blaze. 
Billy Butterfield was fined by 802 for playing 
a radio date on his night off from Nicks. Brad 
Gowans, Pee Wee, and Hackett each received 
a reported $100 for one set at a Trenton bash. 
Bob Wilber reopens at the Savoy in Boston 
for an indefinite stay. Bop from the Royal 
Roost is broadcast nightly over WNEW and 
Dizzy filled Carnegie to capacity Christmas 
day. Thousands turned away in the streets. 
Billy Kyle playing at the Red Wagon. Mezzrow 
playing again. 

CHICAGO— Walter Wager 

Chicago met 1949 with a loud bop, starting 
with a thunderous Lester Young session at the 
Pershing Ballroom on New Year's night and 
rolling along madly with a dazzling Dizzy Gilles- 
pie concert the next afternoon at the Opera 
House in an uninterrupted burst of post-holi- 
day whoopee. 

The Armstrong All-Stars concluded their suc- 
cessful stay at the Bluenote on January 9, 
and were followed by Woody Herman and his 
able crew. Playing intermission piano for the 



potent Herman pack is Max Miller, a genuine 
talent overdue for national recognition. 

Dixie did very well for itself, with Baby Dodds 
(drums), Miff Mole (tailgate), Darnell Howard 
(clarinet), and Fred Greenleaf (trumpet) blow- 
ing all over the Beehive. Doc Evans and his 
aang were striving ably to raise the roof at 
the Tailspin, while other wise citizens were 
catching a lot of fine New Orleans from Sid 
Bechet and company at the rather sedate but 
comfortable Jazz Ltd. With the persuasive 
soprano sax maestro in the plush bistro were 
Munn Ware (trombone), Bill Reinhart (clarinet), 
Don Ewell (piano), and Johnny Vine (drums). 
The whole thing was just about the slickest 
operation in this Windy City, and very well 
worth looking into. By reservation, only. 

Shifting from the suave to the sleazy, the 
unpredictable joints on North Clark's strip and 
skid row continued to serve up hot dishes of 
deriere and Dixie. As a thoroughly exhausted 
1 948 staggered out and fell into Lake Michigan 
without even a splash the Parody Club was 
offering Danny Alvin, Max Miller, and Bud 
Jacobson. A good deal of heat is radiating 
from Lee Collins torrid horn at the familiar 
Victory Club, a rather rare dive which looks 
like the set of a Warner "B" production. The 
music is more than competent in the Arm- 
strong tradition, the beer just a dime, and the 
girls not much more. While not a rough joint, 
I was glad that I had my spats at the cleaner. 

Like the man said, it's still Chicago. 

SAN FRANCISCO AREA— Dick Oxtot 

As last month's report indicated, the Bay 
region's jazz fare has been depleted to the 
extent that only one jazz band is playing regu- 
larly. Kid Ory returned to Los Angeles and 
Bob Scobey's Alexander's Jazz Band wound up 
its engagement during the same week, leaving 
Lu Watters' band to uphold the standard alone. 

Watters' band still puts over a six night stint 
each week, although the leader's powerhouse 
horn has been temporarily stilled. An impend- 
ing operation has taken Lu from the brass to 
the rhythm section, where he scrapes a wash- 
board with apparent content. With the fall of 
his Alexander's Band, Bob Scobey has vaulted 
back into the Yerba Buena Band, as its one 
and only trumpet. The personnel these nights: 
Scobey, (trumpet); Turk Murphy, (trombone); 
Bob Helm, (clarinet) ; Johnny Wittwer, (piano); 
Harry Mordecai, (banjo); Dick Lammi, (tuba); 
Lu Watters, (washboard). 

The remaining jazzmen hereabouts are feed- 
ing on whatever casual dances can be pro- 
moted. Making fair inroads into the college 
fraternity circuit is a young band headed by 
Pete Stanton, which includes Bob Mielke, (trom- 
bone); Pete Allen, (clarinet) ; and Jack Minger, 
a trumpet find who did a splendid job with 
Kid Ory during the final three weeks at the 
Venus Club. 



NEW ORLEANS— Don Perry and Fred Hatfield 

Jazz has returned to New Orleans! Regard- 
less of previous reports on the birthplace of 
Jazz, our native music is at last finding a pre- 
carious foothold in some of the more appre- 
ciative clubs. After a state of inactivity, a 
small flurry of interest has grown to large pro- 
portions, instigated by the New Orleans Jazz 
Club. 

George Lewis is still holding his apprecia- 
tive crowd at Manny's Tavern in Gentilly, with 
Elmer Talbert, "Slow Drag", Lawrence Marrero, 
and Joe Watkins. Johnny St. Cyr of Hot Five 
fame played for several weeks at Smitty's- Bar, 
a small neighborhood tavern on the outskirts 
of the Vieux Carre', with Albert Burbank in a 
fine guartet and Jim Robinson, plays his trom- 
bone in occasional street parades and funerals. 

Much of the jazz interest in New Orleans to- 
day is centered around Sharkey Bonano, now 
playing at the Famous Door in the Vieux Carre', 
and surprisingly enough, with the only dixie- 
land band on Bourbon Street. His all star 
lineup includes Santo Pecora (trombone), Lester 
Bouchon (clarinet), Monk Hazel (drums), Chink 
Martin (bass), Jeff Riddick (piano). Sharkey 
also does a fine job of leading the Sunday 
afternoon concerts at the Parisian Room, with 
Irving Fazola, "Digger" Laine, Roy Zimmer- 
man, Monk Hazel, and Chink Martin partici- 
pating. 

Surprise find of the season was an outfit 
headed by pianist Buck Banville carrying on 
the 'Halfway House" style at an obscure dance 
hall in Gentilly, and patronized almost exclu- 
sively by teenagers. Buck's band has been 
holding forth for approximately fifteen years 
in the same spot with the same musicians, and 
removed almost entirely from the influence of 
modern trends in music, with the result that 
they play some very interesting stuff. His pro- 
gram consists of playing two "Pop" numbers 
(in his own style) alternated with a jazz classic. 
They play with terrific drive and enthusiasm. 
A missing trombone is the only trouble. A 
delightful oddity, is the sousaphone in the line- 
up which is accepted, surprisingly enough, by 
the bobby soxish-crowd. 

Elsewhere in the city you can find Arman 
Hug playing piano at the Hotel Pontchartrain 
and Raymond "Slow Blues" Burke, playing fine 
N. O. clarinet at the French Casino. Playing 
spot jobs in town are Johnny Wiggs (cornet), 
Bill Shea (clarinet), Freddie King (drums), 
and a new addition to the crowd, recently of 
Atlanta, Bob Matthews (drums). 





the record 
> changer 



February 1949 



Vol. 8, No. 2 



Editor-Publisher 
BILL GRAUER, JR. 



Managing Editor 
ORRIN KEEPNEWS 



Production 
JANE GRAUER 



Art Stall West Coast Representatives 

GENE DEITCH— Cover & Cat ALBERT OTTO & JACK LEWERKE 

SIMA RUVIDICH— Design & Typography 11800 Wilshire Blvd., Los Angeles 25, Calif. 



CONTENTS 



Assorted Rags 


Roy J. Carew 


6 


Claude Boiling 


Rudi Blesh 


7 


A Night in Manhattan 


George Cardoza 


8 


Bop Horn 


Ross Russell 


10 


C-R-Dex Filing System 


Anthony P. Ciardi 


1 1 


Equipment 


Gene Deitch 


12 


Ward Pinkett 


Albert J. McCarthy 


13 


Footnotes on High 






Fidelity 


Jefferson Davis Bates 


14 


Alexander's Jazz Band 


Dick Oxtot 


15 


Kenneth Lloyd Bright 


Bucklin Moon 


16 


Records Noted 


George Avakian 
Bucklin Moon 
Paul Bacon 


17 


The Cat 


Gene Deitch 


18 


Revivals 


Edward Hill 


19 



Record Exchange Section: 

Advertisers' Addresses 21 Collectors' Display Ads 23 

Records for Disposition 28 Classical Exchange 

Records Wanted 30 



31 



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2 columns (2/3 page; 156 lines) . .420.00 

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No display ads for record lists less than 
one column accepted. 

SUBSCRIPTIONS 
United States: 1 year $3.00, 2 yrs. $5.50, 
3 yrs. $7.50, Canadn add 25 cents per 
year for postage. Foreign add 50 cents 
per year for postage. To subscribe, send 
your remittance to The Record Changer, 
125 La Salle St., New York City 27, 
New York. 



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Classified sections; 13 cents per record, 
submitted on our special ad forms. For 
a supply of these forms address a post 
card to The Record Changer.. 125 La 
Salle St., New York CHy 27, N. Y. The 
rate for classified advertising not sub- 
mitted on these forms is 20 cents per 
record. 



COMMERCIAL ADVERTISING 
Address Inquiries to The Record 
Changer, 125 La Salle St., New York 
City 27, N. Y. 



The Record Changer Is published monthly by Changer Publications, Inc. 
125 La Salle St., New York City 27, N. Y. 
Copyright 1049 By Changer Publications, Inc. 



lemME 

take this chorus 



Of late there has been a disturbing in- 
crease in the number of reports of unethical 
practices in connection with the buying, sell- 
ing, and trading of records through the 
pages of this magazine. This troubles the 
editors of The Record Changer greatly; as 
the medium through which the exchanges of 
records are made, we feel a definite re- 
sponsibility to protect the great majority 
of collectors against the unethical few. 

In order to more effectively protect your 
interests, we strongly urge that collectors let 
us know about any and all unsatisfactory 
transactions they have experienced in recent 
months. Please be specific: name names; 
describe in detail the foulea-ap transactions ; 
and indicate the present status. 

These reports will form the basis for a 
full-length article, to appear in a forthcom- 
ing issue, which will attempt to expose the 
most frequent and reprehensible malprac- 
tices, and discuss means of eliminating them. 

Please send all reports, plus any sugges- 
tions you may have to offer, to the attorney 
in charge of these matters : 

Jacob S. Schneider 
128 West 66th Street 
New York, N. Y. 



Another jazzman is dead long before his 
time ; Dave Tough, barely forty years old, 
died of pneumonia on December 9. Best 
known as a traditional, Chicago-style drum- 
mer (he was born in Oak Park, 111., and 
was an integral part of the early Chicago 
era), Tough had also ventured so far to the 
other extreme as to play with the Woody 
Herman band for a time. His sudden pass- 
ing stunned the many jazzmen and col- 
lectors who knew him and valued his work. 



Military Notes : Tony Janek, top-gun in 
the V-di sc program, informs us that V-discs, 
surprisingly enough", are still being turned 
out, with a good deal of jazz included among 
the recent sides. More than 900 records 
have been turned out under this program. 
We also hear that the 54-man grand finale 
of the monster Dixieland Jamboree, reported 
on in last month's Changer, was recorded by 
the Armed Forces Radio Service. Anybody 
got an extra copy? 



A fairly new British jazz publication has 
come to our attention : Jass Journal, edited 
by Sinclair Traill and Tom Cundall. It's a 
handsome monthly that impresses us chiefly 
with its freedom from cultism, its attacks 
on shoddy discography, and its sense of 
humor. 



Charlie Emge informs us that the city 
censors in Memphis have banned the movie 
A Song Is Born, ostensibly because it claims 
jazz was born in New Orleans, while every- 
body knows it was born in Memphis. 
Chances are, of course, that it was the film's 
mixing of white and Negro musicians, 
rather than obscure cultural-pride motives, 
that caused the ban. The movie, incidentally, 
is just one more of those painful Holly- 
wood's eye views of Real Jazz. 



ASSORTED 



by roy j. carew 




One evening in the spring of 1938, while 
at the dinner table, I reached over to 
the radio and turned it on at random, 
giving no thought to what program might 
be on, and got a pleasant surprise. A fine 
piano solo was coming over the air. After a 
few moments of listening, I said to my 
wife: "Listen to that number, — that's the 
kind of piano the boys in New Orleans used 
to play," or words to that effect. At the end 
of the selection the announcer gave the 
player's name, none other than Bob Zurke. I 
am pleased to recall the incident, as it re- 
minds me that away back in the early days, 
New Orleans had considerable fine piano. 

One little group of piano players included 
Joe Verges, Leonard Bysdorfer, Irwin P. 
Leclerc ; those who like to think that good 
jazz had to come out of honky tonks should 
have heard these boys having a session on 
a Sunday afternoon at the Monteleone Hotel. 
Another good ragtime player should be men- 
tioned with the group — Harry Farrar, who 
just missed out in a couple of chances for 
a place in jazz history; in 1915 Harry and a 
jazz group went to Chicago and played the 
summer season. About 1916 Harry made a 
recording of a hot rag on a wax cylinder 
(probably a Dictaphone recording), and sent 
it to the Victor firm, but nothing came of 
it. He could play in any key, but preferred 
six flats. 

Bob Zurke was one of the players that 
Jelly Roll Morton had kind words for, and 
contrary to general belief, there were a num- 
ber of others. I believe it was largely due 
to his unstinted praise that Tony Jackson 
began to get some of the credit that he 
deserves as "the greatest single-handed en- 
tertainer." 

One day I mentioned Roy Bargy to Jelly, 
and he agreed unhesitatingly that Bargy was 
a fine pianist. Bargy wrote some very good 
rags at the tag end of the ragtime era, and 
recorded them for Victor in the early 1920's : 
Knice and Knifty/ Piano flage (Vi. 18969), 
and others. Bargy made some use of what 
has been referred to as "secondary rag," 
which in my humble opinion belongs more to 
novelty than to ragtime, although it is found 
in many rags. I don't recall that Scott 
Joplin ever used it. In his Jazz: Hot and 
Hybrid, Winthrop Sargeant mentions the 
Cannon Ball Rag by Northup (1905) as the 
first published example of secondary rag, 
but a simpler form of it occurs in Levee 
Rag (1902) by Charles E. Mullen, one of 
Northup's contemporay Chicagoans. Mullen 
was still living in 1930, but I haven't heard 
of him since. The second part of Levee Rag 



was used in at least two other rags, Easy 
Money (1904) and also the Cannon Ball. 

If a catchy strain appeared in a number, 
there were many who didn't hesitate to pick 
it up and use it, which resulted in its ap- 
pearance in widely separated parts of the 
country. Fragmentary bits of tunes, partially 
learned by folks, and whistled or hummed 
about the streets, would be picked up and 
built into rags or songs. A couple of bars 
from a part of Tiger Rag used to be current 
around New Orleans and was known by 
it into a song; I built a rag around it, and 
didn't know it was in Tiger Rag until years 
later. A "ratty" tune that used to be heard 
around New Orleans and was known by 
some as "If you don't like the way I walk," 
was later arranged into a pretty good song 
called Mama's Baby Boy. The impudent and 
rather personal "Hey, Brownskin, who you 
for?" of the New Orleans gamins was put 
into two songs, one published in New Or- 
leans and one in Chicago. . . . 

A kidding or catchy remark, if it became 
current, was almost sure to get into a song. 
When I worked in Gretna from 1904 to 1906, 
the office boy used to sing a sort of blues 
strain, "You may go, but this will bring-a- 
you, back," illustrating with an appropriate 
gesture. Later I found that several songs 
had been written with that title, one of them 
by Ben Harney, who gets some credit for 
pioneer ragtime activity. Harney's song was 
published in 1898, and he must have carried 
the idea, if not the song, to New York from 
the midwest. 

Harrison Smith calls attention to the fact 
that many Dixieland standbys were Tin Pan 
Alley" tunes, which certainly is a fact. In the 
article Scott Joplin: Overlooked Genius 
(Record Changer, 1944), it is stated "...in 
publicizing the musicians who developed and 
spread jazz music, there has been a lack of 
consideration given to . . . the early musical 
environment of the players, to the popular 
musical compositions that were current in 
the early days." However, it is also a fact 
that many Tin Pan Alley hits have been, 
consciously or unconsciously, versions of 
honky tonk strains from the provinces, or 
have contained large portions of "strains 
from the alle3'S." Farly examples are May 
Irwin's Bully Song, and Ta Ra Ra Boom 
De A, the latter coming out of Babe Con- 
ner's dive in St. Louis to make a hit, first 
in London and then in this country. I don't 
believe it would be difficult for a good tune 
detective to identify strains from old tunes 
in many of the more recent hits. Those who 
doubt might compare Ta Ra Ra Boom De A 




with a couple of "modern" tunes, Across 
the Alley from the Alamo, and / Wonder, 
I Wonder. . . . 

When ragtime was young and very popu- 
lar, nearly every aspiring writer utilized 
it in his original compositions, or in ragtime 
versions of familiar songs, such as Old 
Black Joe, Annie Laurie, Home Sweet 
Home, as well as the classics. Felix Men- 
delssohn wrote a Spring Song ; Egbert Van 
Alstyne wrote Darkies' Spring Song; Joe 
Jordan write /. /. /. Rag, the first part of 
which is almost identical with the first part 
of Darkies' Spring Song. Jordan was the 
composer of That Teasin' Rag, which went 
into the Dixieland One-Step,, if my memory 
serves me. Otto Bonnell wrote a rag version 
of Turkey in the Straw, which is a direct 
descendant of Old Zip Coon, published in 
1843. . . . 

I looked up the original of Old Zip Coon, 
thinking to get at an early manifestation of 
ragtime, but it had none in it. It did, how- 
ever, furnish an. early example of "scat" 
singing, — "O, zip a duden duden duden, zip 
a duden dey." In The Ham Fat Man (1863), 
we find more of it, — "Hoochee, coochee, 
coochee," which is more likely to have been 
baby talk than any reference to Little 
Egypt's hoochee coochee dance. In Stanley 
Crawford's Show the White of Your Eye, 
there is "Bo-lo, Bee-die Em-bo." In the song 
// That's What You Want Here It Is, by 
Shepard N. Edmonds, there is "Ba dee-die 
lee do-dle lo-dle lo," and more. 

As to extemporaneous "scat," my old 
friend Bill Sommers, a semi-professional 
singer in New Orleans some forty years 
ago, told me that he was never at a loss for 
the words to a song. "If I forget 'em," he 
said, "I use my own words, or substitute 
something that sounds like words." So-o-o-o, 
Louis Armstrong doesn't exactly stand alone. 
Once in a while there is something new 
under the sun, but not too often. 




claude 



boiling 



NEW FRENCH SENSATION 



by rudi blesh 



Early in 1948 we began to hear of second- 
line jazz in France. It was in January, 
in fact, that sensational reports began 
nltering back from the International Jazz 
Festival at N'ice of a young band headed by 
clarinetist Claude Luter. Xo Hot Club Quin- 
tette this, evidently, for soon Louis Arm- 
strong returned from France with accounts 
of the fidelity with which Luter had captured 
Johnny Dodcls' style and his group that of 
King Oliver's Creole Band. Luter discs that 
arrived shortly thereafter largely bore out 
these reports. 

The emergence, at this time, of one such 
band in France would have been surprising 
enough, but it would seem that it was an 
omen, too. For more recently there have 
come reports from abroad, backed up by 
records, of another and younger band that 
is, in certain ways, even more phenomenal 
than the Luter group. 

Eighteen-year-old pianist Claude Boiling 
leads this new jazz sensation. Before describ- 
ing the band and its music, however, let us 
briefly sketch Boiling's own story-. Claude 
was bom in Nice in 1930 and by his twelfth 
year, having mastered the guitar, took up 
the study of classical piano. About this 
time he heard an album by Charlie Kunz, a 
French hot pianist of sorts. As far as he re- 
calls, this was the first time that the young 
Boiling had ever heard jazz. Overwhelmed 
by the experience, he forthwith embraced 
the jazz idea. 

Only a scant year later he was able to 
gain honorable mention for his hot piano 
improvisations in a Paris festival. By 1945, 
at the age of fifteen, he had formed an 
orchestra, based on the New Orleans instru- 
mentation, that played in various Paris night 
clubs like the Lucky and the Kangoo. Since 
then the rise of Boiling has been something 
I of a phenomenon. A year ago he opened the 
Tabou club. By this time Boiling was not 
only a fine pianist in the Waller vein but 
a remarkable leader, as weli, as was proven 
by hjs appearance last December at the 
Paris Coliseum. His remarkable talent for 
musical organization, evidenced by the play- 
ing of his band on that occasion proved an 
astounding revelation to French jazz fans. 

Various public appearances followed ; an 
outstanding one occurred early this year at 
the Marigny festival. There, besides pre- 
senting his Hot Seven, Claude played piano 



accompaniments for the great traditional 
blues singer, Chippie Hill. Shortly there- 
after, Boiling and the Hot Seven recorded 
a number of sides for Blue Star of France. 
At last reports the band is playing at a 
cabaret called An Vieux C^mian. 

The present front line of the Boiling Hot 
Seven features Gerard Bayol, who plays 
a simple but imaginative and driving lead 
cornet based mainly on early Armstrong; 
Maxime Saury, whose soprano work is 
derived, of course, from Bechet and whose 
fluent, expressive clarinet is preeminently 
Doddsian ; and Jean-Louis Durand, who 
plays a sound and resounding trombone. 
Boiling heads the rhythm section, noted for 
its relaxed solidity at all tempos. His com- 
panions in laying down the beat are Guy de 
Fato on bass, Robert Escuras on guitar and 
Robert Peguet at the drums. 

Claude Boiling's personal style has gone 
through several rather well-defined periods : 
from the soon- forgotten Kunz to Waller and 
Earl Hines, and then to the final formative 
stamp of Jelly Roil Morton. A steady, bril- 
liant, and creative player, Claude has assimi- 
lated what he personally needs from the 



latter three and has amalgamated it all into 
his own style. As a leader he has used the 
same intelligent and tasteful eclecticism. Re- 
fusing to be bound to the literal imitation 
of any one style, however hallowed, his band 
bases its playing on Oliver, Morton, the 
Hot Five. In some instances, even the mid- 
1930's work of Ellington has been adapted 
to the requirements of his seven piece group, 
although this, in all likelihood, may be re- 
garded as a passing phase in the band's 
development. 

The assurance of the Boiling band is as 
remarkable as its homogeneity. Each man, 
despite his youth, is a fundamentally sound 
musician, able to work in ensemble as well 
as solo. There is no doubt that the leader 
has impressed his own personality and aims 
on the group as a whole. It is known lhat 
he has had a strong hand in guiding the 
musical development of these young players. 

The six sides that Boiling recorded last 
spring for Blue Star are : Georgia Bo Bo, 
Blues in Disguise, Nobody Knows the Way 
I Feel This Morning, Dippermouth Blues, 
You Rascal You, and Riverside Blues. There 
is some fine, relaxed jazz on these sides, 
{Continued on Page 20) 




I 





stuyvesant casino: Bunk's 

old Manhattan home has a new sponsor, 
Jack Crystal, for its regular Friday night balls. 
In mid-December, Bechet-protege Bob Wil- 
ber's band, between highly successful Boston 
stands, was featured. Jimmy Archey is on 
trombone, Henry Goodwin on trumpet, with 
Pops Foster, bass; Dick Wellstood, piano; 
Tommy Benford, drums. 



eddie condon's: The maestro 

and his guitar are absent from the po- 
dium, a not-too-unusual occurrence, but Wild 
Bill Davison, George Brunis, clarinetist; Pea- 
nuts Hucko, Gene Schroeder on piano; Jack 
Lesberg on bass; and Morey Feld, drums, 
manage to fill the Greenwich Village air. 
Ralph Sutton plays fine intermission piano 
here. 




night 



in 



photos by george cardozo 



S* Billy Butterfield, that fugitive from 
a big band, plus Ernie Caceres, clarinet; 
"Cutty" Cutshall, trombone; Irv Manning, 
piano; Charlie Queener, bass; and drummer 
Joe Grauso, hold forth nightly at this oldest 
of New York jazz landmarks. 




jimmy ryan s: The last stronghold 

of jazz on famed 52nd Street, now 
virtually abandoned to girls removing cloth- 
ing. Max Kaminslcy is still the greatest, pound- 
for-pound, assisted by Cecil Scott, clarinet; 
Dick Carey, piano; Arthur Trapier, drums. 
Chippie Hill sings blues, with Don Frye on 
piano, between band sets. 





royal roost: One of two Broadway 

be-bop havens (the new Clique Club is 
the other), this "Metropolitan Bopera House" 
draws crowds, changes personnel almost 
weekly. At this moment it offered Miles Davis, 
trumpet; the celebrated alto of Charlie 
Parker; Al Haig, piano; Tommy Potter, bass; 
drummer Max Roach. 



10 



bop horn 



A DISCOGRAPHY BY ROSS RUSSELL 



As a supplement to last month's discussion of 
the leading exponents of the be-bop trumpet, Ross 
Russell has prepared a selective diseography of 
79 records. He recommends them to all who are in- 
terested in gaining an understanding of the use 
of the trumpet in this new style. As might be 
expected, Dizzie Gillespie records predominate, 
but there are sides by Miles Davis, Howard Mc- 
Ghee, Fats Navarro, and 15 others. 



DIZZY G ILLESP1E: 
TEDDY HILL 
CAB CALLOWAY 



LIONEL HAMPTON 

COLEMAN HAWKINS 

BILLY ECKST I NE 

BOYD RAEBURN 

RED NORVO 

D I ZZY 

DIZZY 

D I ZZY 

D I ZZY 

D I ZZY 
HOWARD MCGHEE: 

ANDY KIRK 

COLEMAN HAWKINS 

JAM SESSION 

MCGHEE 

MCGHEE 
FATS NAVARRO: 

TADD DAMERON 

NAVARRO 
MILES DAVIS: 

CHARLEY PARKER 

CHARLEY PARKER 

CHARLEY PARKER 
RED RODNEY: 

RED RODNEY 




KING PORTER STOMP BB 6988 

HARD TIMES OK 5566 

PICKIN* THE CABBAGE OK 5467 

HOT MALLETS VI 2637| 

WOODY IN' YOU APO 75 I 

OPUS X DEL 2002 

INTERLUDE GU 1 07 

CONGO BLUES COMET 6 
HOT HOUSE/SALT PEANUTS GU 103 

I CAN'T GET STARTED MANOR 1 042 
DIGGIN D IZ/CONF IRMAT ION DM004 

52 STREET THEME VI 40-0 1 30 

TH 1NGS TO COME MU 447 

MCGHEE SPEC I AL DE 4405 

NIGHT RAMBLE/LADIES AS 3552 
EXPERIMENT PERILOUS SUNSET 7560 
BEBOP DIAL 1007 

NIGHT MIST/DOROTHY DIAL 1027 



THE SQUIRREL 
FAT GIRL 



BN 540 
SAV 906 



B ILL IE 'S BOUNCE/NOW'S SAV 573 
ORNITHOLOGY/NIGHT DIAL 1002 
BONGO BOP/EMBRACABLE Dl 1024 



KA I 'S KRAZY KATS 
SONNY BERMANt ■ 

BERMAN 
CONTE CONDOL I : 

CHUBBY JACKSON 
ERNIE ROYAL: 

WOODY HERMAN 
GAIL BROCKMAN: 

GENE AMMONS 
BENNY HARRIS: 

CLYDE HART 
KENNY DURHAM: 

SONNY ST ITT 
TOMMY ALLISON: 

BOYD RAEBUEN : 
RAY LINN: 

RAY LINN 
BENNY BAILEY: 

TEDDY EDWARDS 
NE IL HEFT I : 

LUCKY THOMPSON 
SHORTS MC CONNELL: 

LESTER YOUNG 
CHARLIE SHAVERS: 

HERB IE HAYMER 
PEANUTS HOLLAND: 

DON BYAS 



LOADED SAV 602 

NOCTURNE/CURBSTONE Dl i030 

LEMON DROPS MGM 

KEEN AND PEACHY CO 382 |3 

MCDOUGALS SPROUT MERC 8062 

LITTLE BENNY SAV 598 

BLUES IN BEBOP SAV 508 

TONS I LECTOMY JE 1 0000 
SERENADE IN SEVENTHS Sl28l2| 

BIRD LEGS METRO 

BOPPIAJ' THE BLUES VI 20-3 1 42 

NO EYES BLUES ALA 1 62 

LAGUNA LEAP SUNSET 7561 

RED CROSS BL STAR 



ELEVAT ION 



KEY 670 



II 



the c-r-dex system for the filing 
and indexing of phonograph records 



by 

anthony p. 
ciardi 



Records have been created for the purpose 
of furnishing "the music you want when 
you want it." They are meant to be 
played — not hidden. Any collection of rec- 
ords that doesn't permit the choice of a 
record immediately when desired defeats its 
own purpose. 

A collection must fulfill two requirements 
for proper use and enjoyment : it must be 
housed in. a suitable storage space, and it 
must be indexed. 

An index furnishes an overall picture of 
the collection, and separates it into numerous 
categories. It keeps the collector constantly 
aware of the items in the collection, assisting 
him in the plan of collecting, and in the 
selection of a program for listening. 

Suitable storage space means a cabinet, 
or cabinets, that will house all the records 
in the collection, with the records filed in a 
manner permitting instant removal and re- 
placement. Naturally, the larger the collec- 
tion, the greater the problem. 

Most of you must have already discovered 
that one or more large cabinets are prefer- 
able to many small ones, and that the cabinet 
should hold single records and albums, 
10-inch and 12-inch. But most of you prob- 
ably have no suitable filing and indexing 
system. 

To clarify at this point two terms to be 
used quite frequently: filing records will 
mean placing them in a cabinet in accord- 
ance with the system used. Indexing refers 
to a listing — usually in a loose-leaf book — 
of artists, titles, and other data pertinent 
to the collection. 

The collector may want a simple yet 
effective system — so it must be stated at the 
outset that no such system exists. A certain 
amount of detail must be endured to make a 
system truly effective, and a collection en- 
joyable. Naturally, the more detail, the more 
work, but what real collector is ever dis- 
mayed by a little labor? 

My C-R-Dex Filing System is basically a 
system of filing by artist, in strict al- 
phabetical sequence. The term "artist" 
refers here to either a single person or a 
recording group of any size or type. The 
system covers the filing of both 10- and 12- 
inch records, single records and albums. 

Single Records 
First, file all single records by artist, as- 
signing each artist a code number (I have 
found it much easier to locate and replace 
records by number than in alphabetical se- 
quence). Each artist is assigned his indi- 
vidual code, a number combined with letters 
from his name. 



The numbers are written on the envelopes, 
in the upper left-hand corner, and the 
records then filed so that a flip of the 
finger will fold over the corners of the en- 
velopes, while in the cabinet, exposing the 
numbers. Artists and code numbers should 
first be listed on temporary sheets of paper, 
as changes are bound to occur during the 
filing period. When filing is complete, a 
permanent (type-written, if possible) index 
is advisable. 

All 10-inch single records and albums re- 
ceive numbers from 001 to 499. All 12-inch 
single records and albums are numbered 
from 500 to 999. 

The first record of anv artist to be filed 
is assigned the number TOO, preceded by the 
first three letters of the artist's name. This 
is called the primary number. For example : 
ALL-100— All Star Trio 
CRO- 100— Crosby (Bing) 
OLI-100— Oliver (Joe "King") 
WHI-100— Whiteman's (Paul) Swinging 
Strings 

All the All Star Trio's records will have 
the code number ALL-100 and are filed to- 
gether in one group. Similarly, all Bing 
Crosby's will have CRO-100, etc. 

If there is more than one artist on either, 
or both sides of the record, the favorite artist 
receives the primary number. The other 
artists are listed in the index in their own 
alphabetical section, but taking the number 
of the favorite artist. In a record by Bing 
Crosby and Connie Boswell, with Victor 
Young and His Orchestra, assuming that 
Bing Crosby is the "favorite artist," he re- 
ceives the primary number CRO-100, and at 
the same time is listed in the "C" section of 
the index : 

CRO-100— Crosby (Bing). 

Connie Boswell also receives the number 
CRO-100, which, in this case, is a secondary 
number (her primary number would be 




mm- 



BOS-100). She is then listed in the "B" 
section : 

CRO-100— Boswell (Connie). 

Victor Young and His Orchestra likewise 
receives CRO-100 and is listed in the "Y" 
section : 

CRO-100— Young (Victor) 
and His Orchestra. 

An artist may have a secondary number, 
as well as a primary number, as he may be 
the principal artist on some records, and the 
secondary artist on others. For records on 
which Connie Boswell is the favorite artist 
the code number would be BOS-100 and 
she would be listed in the "B" section with 
both primary and secondary numbers : 

BOS-100— Boswell (Connie) 

CRO-100 

This indicates immediately that Connie 
Boswell may be. found on records of Bing 
Crosby, which, by referring to the code 
number section of the index under CRO-100, 
will be located by their exact number. 

Regardless of how many different artists 
any one performer appears with, if he is 
listed with all his secondary numbers, he can 
easily be located on any of his records, 
whether alone or with others. 

Since the artists are listed alphabetically 
in the index, the problem of similar letters 
will arise when coding and filing the records. 
Consider : Russ Morgan, Ella Mae Morse, 
Jelly Roll Morton. 

If Ella Mae Morse happened to be the 
first artist coded, her number would be 
MOR-100. Suppose Russ Morgan came next. 
We note, from his alphabetical position, that 
he precedes Ella Mae Morse. So he receives 
a code number 50 ahead of Ella Mae Morse, 
or MOR-050. Jelly Roll Morton, following 
Ella Mae Morse, would receive a number 
50 after hers, or MOR-150. If an artist's 
listing fell alphabetically between Morse and 
Morton, his number would be MOR-125 — 
halfway between 100 and 150, making the 
index listing look like this : 

MOR-050— Morgan (Russ) 

MOR-100— Morse (Ella Mae) 

MOR-125— 

MOR-100— Jelly Roll Morton 

This should provide sufficient code numbers 
for all artists with similar names. 

For 12-inch records the starting number 
is 700, instead of 100, and as has been noted, 
the numbers run from 500 to 999. 

Your collection, of course, contains, many 
records, many titles, by the same artist. In 
these cases, the code numbers are extended. 
Take such a group of records, and without 
regard for titles, number each envelope con- 
secutively, beginning with .001. These deci- 



12 



mal numbers are merely added to the code 
number already assigned. Records of the 
All Star Trio (ALL-100), would be 
listed as : 

ALL-100.001 You Ain't Heard Nothing 
Yet/Rose of Washington Square 

ALL-100.002 / Ain't Nobody's Darling/Yoo- 
Hoo 

Filing Albums 

To code albums, the procedure is the same 
as for singles. Whether the albums are the 
ready-made, 3 or 4-envelope ones put out by 
record companies, or the large, empty albums 
to be filled with records of your choice, they 
are given the same filing treatment. 

All albums are assigned a number, plus a 
letter, beginning with "A." Any number in 
the index followed by a letter, therefore, 
will immediately indicate an album. 

If an album contains the records of only 
one artist, it takes the primary number of 
the artist, followed by the letter "A" for the 
first album, "B" for the second album of 
that artist, etc. For instance, if one or more 
albums contained all records of Bing Crosby, 



the album numbers would be CRO-100A, 
CRO-100B, etc. 

The numbers on gummed labels are at- 
tached to the backs of the albums. Original 
titles of ready-made albums are ignored in 
filing and a code number assigned in the 
same manner as for home-assembled ones. 

As an example, consider the 12-inch 
album, "Metropolitan Revivals," containing 
a number of operatic artists, including 
Caruso, If he is the favorite artist, the 
album number becomes CAR-700A. This is 
the primary number. All the other artists 
will be listed in the index alphabetically, 
with the number CAR-700A as a secondary 
number for them. The album will be filed in 
the "C" section of the cabinet. 

But if you do not want to file such a 
varied album under a single artist's name, 
it can be considered a mixed album ; if it is 
a 10-inch album it acquires the classification 
MIX-100A. Should the alphabet become ex- 
hausted with the number 100, 101 is used for 
the next series, beginning with 101A. If it 
is a 12-inch album, the code number becomes 
MIX-500A, and the same procedure fol- 



technical experts 



Light Pick-Up Fiend 





Dial Modulator 




Cactus Pete 



next month: "COLLECTORS" 




lowed as for the 10-inch albums. 

Although a mixed album acquires a code 
number without any reference to artists con- 
tained, the artists are listed in the index by 
name, with the album number as their sec- 
ondary code number. 

In addition, the envelopes in the album 
should be numbered, and the album listed 
in the index, giving all the artists and record 
titles, and also the album envelopes in which 
the records may be found. A duplicate list- 
ing of the album's contents should be made 
— one for the index, the other to be attached 
to the inside cover of the album itself — to 
permit even quicker reference to the records. 

Indexing 

Without an index, the best filing system 
loses most of its value. I have found that 
a loose-leaf ring book, about 6 by 9 inches, 
provides the greatest utility in a permanent 
index. Although numerous ramifications are 
possible, the index must contain three basic 
divisions: (1) the artists' section; (2) the 
code number section; (3) the title section. 

(1) Artists are listed alphabetically, with 
their code numbers. This section, of course, 
is constructed at the time the physical filing 
of the records is done. 

(2) In this section, each code number is 
listed alphabetically; the code number, with 
its corresponding artist, heads the page. It 
is followed by other artists having the same 
code as a secondary number, with the titles 
pertaining to them. Titles are listed in alpha- 
betical sequence, with their envelope num- 
bers. 

(3) Up to now I have not mentioned the 
record label, or its original number. The 
only place they appear is in the title section. 
In this section all record titles are listed in 
strict alphabetical order, with their acquired 
code numbers, artists, labels, and original 
numbers. In this listing the code number 
enables you to determine immediately 
whether a given title is filed singly or in an 
album, whether it is on a 10 or 12-inch 
record, and the exact envelope in which it 
is placed in the cabinet. 



KNOW YOUR COLLECT I ON J 
THE C-R-DEX SYSTEM SHOWS YOU 
HOW. HELPFUL TO BEGINNER OR 
EXPERT. COMPLETE SYSTEM $1.00 
A.P.C I ARD I Ill9 LUZERNE ST. 
Sr.RANTON 4, PFNNSYI VAN I A. . 



RECORDS 
WANTED 

I will buy collections out- 
right. Anything from 10 
to 10,000 Records. Jazz, 
Pop, Swing, etc. Send me 
a list of what you have 
with the condition of the 
Records indicated. You 
will receive a prompt re- 
ply. Write to 

GEORGE RAAB JR. 
1 JACOBUS PL 
N. Y. C. 




► 



13 





(This article deals with a musician whose 
work, in my opinion, has not received the 
attention it merits. Some of the data has 
been taken from two articles in the old Jazz 
Information — Forgotten Giants, by George 
Beall and A Note on Ward Pinkett, by the 
late Eugene Williams — but much of this 
material has never before appeared in print. 
I must thank the musicians "Juice" Wilson 
and Harry Cooper for much valuable infor- 
mation, and my good friend Charles De- 
launay for interviewing Cooper on my be- 
half.— A. J. M.) 



William Ward Pinkett was born in New- 
port Xews, Virginia, on April 29th, 1906. 
He was one of four children, and showed 
an aptitude for music at an early age. His 
father played cornet in local groups ; Ward 
started to play cornet as a result of tuition 
from his father, and then played in the 
band at Hampton Institute, where he was 
studying architecture. Here he met Harry 
Cooper, already an accomplished instrumen- 
talist. Cooper taught Ward over quite a 
long period, and his technique improved 
rapidly. Shortly afterwards he became a 
pupil at the Conservatory of Music, Merid- 
ian, Mississippi. 

Pinkett's first job was with a local group, 
and then he joined the W hite Brothers Or- 
chestra of Washington, D. C. He afterwards 
came to New York with a show, but soon 
took a job with Charlie Johnson's band at 
Small's Paradise. He remained with Johnson 
only a few months before joining Willie 
Gant's orchestra. He recorded with this 
group, probably for Columbia. It is uncertain 
as to exactly how long he played with Gant, 
but in 1926 he was with James Hogan's 
group at the Joyland on 4th Avenue and 
14th Street. In the same band were Rex 
Stewart and Cuffee Davidson, and at one 
time June Clark played with it. For the 
next ten years or so Pinkett was often in 
the same bands as Stewart, and it is likely 
that he was influenced by Rex's playing. 

Around 1928 he was to be found with Joe 
Steele's orchestra, and made one record with 
them. One of the titles was Top and Bottom, 
which curiously enough was Pinkett's fa- 
vorite drink (gin and port). Later in the 
year he replaced Jabbo Smith in Lloyd 
Scott's orchestra at the Savoy. Other mem- 
bers of the band were Bill Coleman, Dicky- 
Wells and Cecil Scott. In 1928 he com- 
menced his recording work with Jelly Roll 
Morton. A year later he played with Henry 
Sapiro's orchestra, and with a small com- 
bination led by Chick Webb at the Black- 
bottom Club. He remained with Webb when 



the latter moved into the Renaissance. The 
other band men were Edwin Swayzee, 
Robert Horton, Omer Simeon, Hilton Jef- 
ferson, Edgar Sampson, Don Kirkpatrick 
and Webb, and at one period Luis Metcalfe 
was in the band. 

At about this time Pinkett's health showed 
signs of deteriorating. He was a heavy 
drinker, and Harry Cooper considers this 
the reason for his lack of reliability as a 
player. He was a very enthusiastic musician 
nevertheless, and used to practice for hours 
daily in his room. He listened constantly to 
records, particularly those by the Hot Five. 
His admiration for Armstrong was fa- 
natical, and he could play the Louis choruses 
on the Hot Five records by heart. After his 
night's work he usually went along to clubs 
to hear other bands, and the lack of any 
reasonable rest was later to tell. 

In appearance he was tall and thin, with a 
not-very-colored skin. The latter enabled 
him to "pass" in white bands, with which 
he occasionally played. He was always well 
dressed, and his handsome appearance caused 
him to be known as "John Gilbert" to a 
good many musicians. 

It was in 1930 that Pinkett made the bulk 
of his recordings, and he remained in New 
York fairly constantly. In 1931 it seems 
likely that he played with King Oliver, but 
no definite record exists of this. The follow- 
ing year found him with Earl Magee's 
orchestra, once again with Rex Stewart in 
the band. 

I have been unable to trace any record of 
his movements in 1933, but in 1934 he was 




A NEGLECTED JAZZ 

GREAT 

by albert j. mccarthy 



back on Broadway, playing with Rex 
Stewart's orchestra. One night Rex was not 
feeling too well, and asked Pinkett to take 
the trumpet choruses. Pinkett played all of 
Rex's solos note for note, and for some rea- 
son this infuriated Rex. After the show 
they exchanged heated words, and then en- 
gaged in a fight. Pinkett did not return to 
play with the band after this. 

The last definite engagement I can trace 
is with an outfit led by Adrian Rollini, which 
included Albert Nicholas. He stayed with 
the band for five months in 1935. After 
this his movements are obscure, but it seems 
probable that he remained in New York 
until his death from pneumonia on March 
15, 1937. Cooper claims that his resistance 
had undoubtedly been lowered by his in- 
temperate habits, and considering his early 
death, this would appear to be correct. He 
is buried at Newport News, and is survived 
by a daughter. His death undoubtedly robbed 
jazz of an artist who kept within the main- 
stream of the authentic form in a time when 
greater names were forsaking it for more 
commercial, but less worthy manifestations. 

"Ward Pinkett was only to be compared 
with Armstrong and de Paris," said "Juice" 
Wilson. Without going quite as far as this, 
I personally consider Pinkett a very great 
trumpeter. Leaving Armstrong aside, for his 
greatness has hardly yet been comprehended, 
I would certainly consider Pinkett worthy 
of a place in the next half-a-dozen. 

On the first Morton records, Pinkett's style 
is rather reminiscent of Oliver, and at 
times somewhat similar to the Ladnier 
of the Lovie Austin period. He uses a mute 
on all these sides, shading his tone very 
effectively, and yet never obscuring the 
melodic line by over-emphasis. Georgia 
Swing is particularly notable for the swing 
which he displays in the lead role. His work 
fitted very aptly into the homogenous Morton 
recordings. 

It is somewhat difficult to decide Pinkett's 
work on the Oliver Trumpet's Prayer/Call 
of the Freaks. It has been suggested that he 
plays the open trumpet on both these sides, 
but the work is so typical of Luis Metcalfe, 
that I hesitate to consider this as established. 
On the Jungle Band's Dog Bottom, Pinkett 
does a remarkable scat vocal, as uninhibited 
as any I have ever heard. 

On the whole, the later sessions with 
Morton are not as good as the first one, 
but Pinkett's lead on such sides as That'll 
Nevah Do is very good. The July 14, 1930, 
session has some of his finest work. His 
solo on Blue Blood Blues is remarkable. His 
{Continued on Page 20) 






hj jefferson davis bates 



Not very long ago I was at the home of a 
fellow who had four or five thousand 
jazz records of varying degrees of 
rarity. To play these records he had a beat 
up old box of a phonograph with a tone 
like a tin can with holes punched in it, and 
a pick-up arm weighing over two ounces, 
at a very conservative estimate. He played 
me some records I have" in my own collec- 
tion. I scarcely recognized them. In fact, my 
nerves are still a trifle shaky from the ex- 
perience. 

The worst part of it is, this fellow isn't 
unique at all — I know a great many col- 
lectors with really fine collections who worry 
along with second rate equipment, never 
really hearing their records, and wearing 
them out about ten times as fast as is ac- 
tually necessary. To me, it's a crime. It 
arouses the missionary instinct in me. I was 
very glad to see an article on the subject in 
the November Changer, which had a sound 
approach. But I'd like to add a few foot- 
notes. 

Consumers Union has published several 
excellent articles on high fidelity sound 
equipment at low cost. However, their ap- 
proach to the subject is not necessarily from 
the point of view of the jazz collector. Also, 
there have been a couple of very recent de- 
velopments since the reports which Albert 
Otto mentioned in his article, and these put 
quite a different light on the situation. One 
of these developments in Columbia's new LP 
(long-playing) records. Another is the in- 
creasing availability to the jazz collector of 
16-inch radio-type transcriptions. 

My opinion is, therefore, that for a jazz 
collector, a record changer is not a very 
practical investment, particularly for playing 
old and valued discs. Of the low priced 
changers, the Webster 56 is probably the 
best of the lot, but that isn't saying much. 
Any single-post changer has a tendency to 



wear an elliptical hole in the center of the 
record, with a resulting "wow." The turn- 
table speed is not constant, since the motor 
is required to pull varying loads as the rec- 
ords pile up. The average 56 changer spins 
at least two r.p.m. faster than it should on 
the first record, and slows down as the 
weight on the table increases. And last, but 
not least, there is the always present danger 
of breakage during the changing cycle. 

The new Model 256 changer is designed 
for the LP records as well as standard 78 
r.p.m. discs, but it has the same basic draw- 
backs as the original 156. In addition, this 
changer uses a crystal cartridge rather than 
the variable-reluctance type, and conse- 
quently limits the quality of its reproduction. 

What, then, is" the solution? Fortunately, 
it is much simpler now than it was even six 
months ago. With the advent of the LP 
records, General Industries has placed on the 
market a heavy duty dual-speed motor for 
less than $12.00 net. Unlike 'the Model D 
"Green Flyer" motor which preceded it, the 
new Model DR is a rim-driven affair, with 
a considerable decrease in "rumble." It also 
costs much less than the "Green Flyer" 
motor. The bearings are also excellent; this 
is quite important. With a motor of this 
quality and power, constant speed becomes 
much nearer to reality. 

Next, the pickup. Barber and Howard 
make an excellent transcription type pickup, 
playing anything up to and including the 
16-inch size, for about $18 net. Livingston 
puts out a similar pickup, of almost as good 
a quality, .for about $10 net. Both pickups 
are equipped with variable counter-weights, 
and have such excellent bearings as to make 
tracking almost completely frictionless. The 
use of a 16-inch arm also virtually eliminates 
tracking error and the excessive record wear 
which accompanies it. 



While any variable-reluctance type car- 
tridge is highly satisfactory, prob- 
ably the Clarkstan cartridge (about 
$15 net) has more advantages than 
any other low priced unit. It has 
the distinctly superior feature of using 
a replaceable type stylus, which obviates the 
necessity of buying an entire new unit each 
time the stylus wears out. It is also possible 
to take out the standard stylus and replace 
it with a one mil stylus for the new LP 
records, which permits the use of the same 
arm and cartridge for both types of record. 
The outfit as described, using the standard 
type stylus, will also play radio-type tran- 
scriptions, which, in the final analysis, are 
the closest thing to real high-fidelity repro- 
duction yet attained. 

Such a rig is extremely versatile, playing 
every type of record now available commer- 
cially. It will track at about }4 ounce on 
regular records, and (with additional coun- 
terweights) about % ounce on LP records, 
cutting record wear down to an absolute 
minimum. 

The amplifier (Bogen PH-10) mentioned 
by Otto is excellent, as is the G. E. 1201 
speaker. However, RCA has come out with 
a speaker costing about $4.00 more (net) 
which has even more "presence" and a better 
diffusion of highs than the G. E. Of course, 
if you're really interested in high fidelity, 
there is always Altec Lansing's 15-inch 
coaxial job, at $63.00 net. 

Altec Lansing's A323B amplifier is in a 
class by itself, also, but at a cost of over 
$130 net, it is hardly in the low-price field. 
That's the trouble with this business. You're 
never satisfied ; there's always something 
better. High fidelity enthusiasts become just 
as fanatical as jazz collectors, and if you 
combine the two elements, you might as well 
be warned that you're never going to have 
any money. But you'll have a lot of fun. 



alexander's 



Qj 

n band 



by dick oxtet 

Calling all musical historians, jazz chroni- 
clers and moldy figs ! Save some space in 
your bibliographies, indexes and sound 
tracks for a horn-blowing gent who's not 
going to be denied from here on in. Make 
way for a sideman of long standing and 
high repute who is now the proud leader of 
a band. Make way for R. Alexander Scobey 
and his Alexander's Jazz Band ! 

When Bob Scobey left Lu Watters' Yerba 
Buena Jazz Band late last August to front 
his own group of weekends at Oakland's 
Melody Club, there were mixed feelings 
among the jazz gentry of San Francisco and 
environs. Faithful followers of New Or- 
leans jazz — Lu Watters' version — were sorry 
to see the slim trumpeter go. He had been 
the band's second trumpet man since 1939, 
and his loss left a hole in the powerhouse 
brass section that would be all but impossible 
to fill, they reasoned. On the other hand, 
most of them were glad Bob was to have 
an opportunity to display his talents to 
greater advantage. They wished him luck, 
and turned out en masse for his opening. 
Scobey obliged with a five-piece jazz band 
which played their favorite jazz tunes with 
a freshness and enthusiasm that was strictly 
exciting. 

Alexander's Jazz Band was originally or- 
ganized by Scobey as a pick-up band for a 
few recording sessions just before the re- 
cording ban took effect. It showed enough 
promise for Scobey to begin thinking seri- 
ously about organizing a dance band. Al- 
though he had, year after year, played an 
integral part in the Watters organization, 



he had definite ideas of his own which he 
was never able to put into practice under 
Lu. So, when the time was ripe, Bob took 
the leap and was out on his own. 

What were his ideas? Well, the main one 
was not so much an idea as a conviction that 
the use of dynamics was being ignored by 
Watters' full-blowing outfit. 

"Dynamics," maintains Scobey, "are the 
most essential elements in music of any kind, 
and when you play loud all the time, you 
lose a lot of ability for expression." 

Scobey thus concurs with the observation 
of the late Jelly Roll Morton who explained, 
during the course of his Library of Congress 
interviews : 

"You got to be able tw come down in 
order to go up. If a glass of water is full 
you can't fill it any more but if the glass 
is half full, you have an opportunity to fill 
it up. 3asz music is based on the same 
principle." 

Another point on which Scobey disagreed 
with Watters was rhythm. Lu restricted 
his drummers to a 2-beat bass drum 
and, for the most part, a steady tatoo on 
the woodblocks ; Scobey goes all out for 
variety in rhythm. 

"Other beats have interest and musical 
value," he declares. "Why not use them?" 

Bill Dart, like Scobey a member of the 
Watters aggregation since 1939, voices his 
approval of this edict. Bill is now the drum- 
mer in Alexander's Jazz Band, and his style 
has been completely revamped to include 
a variety of beats off a basic 4/4 and free 




15 

usage of his large set of drums. Dart feels 
he was restricted under the Watters setup, 
and Scobey's edict of "freedom" has made 
big Bill extremely happy. 

In a sense, this is the main reason for the 
relaxed, carefree sound of the whole band ; 
each member is playing the way he wants to 
play and they are all playing together. We 
got a tip-off as- to Scobey's "unity" ideal at 
a rehearsal, early in the band's career. 
After a particular number had been con- 
cluded, one musician remarked that they 
had "speeded up" during the course of the 
tune. Scobey's reply was : 

"We won't worry too much about things 
like that, so long as we speed up or slow 
down together. That's better than pulling in 
different directions among ourselves. 

As to the band's style, Bob declines a 
definition. "It's what comes out," he says. 
In other words, it might sound like New 
Orleans on one number, Chicago on another 
and something else on a third. Scobey, an 
ardent believer in flexibility, thinks it a 
mistake completely to emulate a particular 
style and refuse to budge from it in any 
way. 

"There's too much to learn all the time," 
he insists. "I've been playing jazz for 10 
years and am just finding out how little I 
actually know about it." 

As for the band's personnel, it seems more 
than adequate. Burt Bales; San Fran- 
cisco's infamous "riverboat pianist," 
shares the spotlight with Scobey, and is one 
of the foremost reasons for the band's rol- 
licking buoyancy. Burt is probably Califor- 
nia's most flexible jazz artist, having played 
with Watters, Bunk Johnson, Kid Ory, Jack 
Teagarden, and the Frisco Jazz Band, among 
others. The greatest influences on his piano 
style have been Fats Waller and Jelly Roll 
Morton. Burt is also one of the band's two 
vocalists (Scobey being the other), doing 
the gully low numbers, such as Winin' Boy 
Blues and Nobody Knows You When You're 
Down and Out. 

One of the country's most finished musi- 
cians, Squire Girsback, plays tuba or string 
bass, according to the tune. Girsh is also a 
Watters and Frisco alumnus, played with 
Bunk, and has always, been in demand with 
Band leaders of all kinds. 

Along with Scobey on the front line are 
two erstwhile mainstays of the now-defunct 
{Continued on Page20) 



Burt Bales, Squire Girsbaclc, Bill Dart, 
Jack Buck, Bob Scobey, and Jack Crook. 





16 



IN LOS ANGELES 

IT'S THE 

XeMH 
RECORD OUTLET 

(Formerly of New York) 

"The Collectors' 
Paradise" 

The Largest Store in California 
Devoted Entirely to 
Collectors' Items 

For the Best in Jazz, 
Swing, Bebop, Popular 
and All Old Favorites. 

Tremendous Assortment 
of 

Armstrong, Bechet, 
Bessie Smith, Muggsy, 
Holiday, New Orleans, 
Miller, Goodman, Dodds, 
Jelly Roll, Bix Beiderbecke, 
Ellington and Ellington Units, 
Dixieland, Basie, Bing Crosby. 
Etc., on Original Labels, 
Imported Parlophone, 
HMV, Etc. 

Please send in your want lists. 

If in Los Angeles or vicinity, 
it would be well worth while 
to visit us. 

5600 Hollywood Boulevard 

LOS ANGELES 27 
CALIFORNIA 

Telephone Hillside 8088 

As Always, Fairest Prices. 



kenneth 




a tribute 



Kenneth Lloyd Bright is dead. It is hard 
for me to believe it, even as I write these 
words, for there was never a guy who was 
more alive. His name was not widely known 
and now that he is gone it will probably be 
forgotten even by those who have a deep in- 
terest in Jazz. Yet he knew more about 
Eastern Seaboard jazz and parlor social 
piano than all the experts put together, that 
is if you could ever get them together! 

In the house on 131st Street, where he 
lived with his mother, there was a good- 
sized alcove, off the living room, which was 
furnished mostly with phonograph records, 
several thousands of them. He had, I think, 
at most two albums, usually with three rec- 
ords to each sleeve, and the rest of his 
collection was stacked nakedly in files any- 
where there happened to be a vacant place. 
Their only real protection was several layers 
of dust. An evening of listening was purely 
catch as catch can, for if you asked for one 
thing you had heard at the last session you 
always got seventeen better ones before he 
could find the one you really wanted. But he 
always found it in the end, usually with the 
Record Changer— MLB— PM— 2655 9 
reminder that why should he catalogue the 
stuff when- he knew where the record was, 
didn't he? 

He was a New Yorker, first, last and 
always. I remember the post card he once 
sent me from Memphis : "Handy says : 
Rather be here than any place I know ; 
Bright says : Dry Me off in Harlem." That 
was important, because the story of New 
York jazz has never been told. Kenneth and 
I were planning to do it, in a three-part 
article for the Changer, when he was taken 
ill. He was also under contract to a New 
York publisher to do a book with Rudi Blesh 
on the whole Eastern Seaboard jazz picture. 
Those articles will never be written now, 
and though Blesh plans to go ahead with 
the book I think he would be the first to 
admit it won't be the same book now. 

There was a good reason for this : the 
guy lived through it. He was thrown out of 
LeRoy's the first night he ever put on long 
pants ; they let him listen to the music, but 
when the floor show came on they escorted 
him out the door as being too young for 
such adult entertainment. He never told me 
so, but I know damned well he got back in, 
probably through the window of the men's 
room ! Fats Waller played at Kenneth's high 
school graduation party and every decent 
band that ever hit New York practiced in 
the Lafayette Rehearsal Hall that his father 
owned. He knew everybody and everybody 
knew him, by face if not by name. 

If you wanted to know where somebody 
was you called him up and he told you that 
he only saw the guy last week and he'd get 
in touch with him right away. I remember 
the night he took me up to Father Divine's 
and pointed out old Tommy Morris sitting 
{Continued on Page 20) 



VOL. No. 3 

and 
VOL. No. 4 

of 

INDEX 
to JAZZ 

/lit, Suit AutUfaUe 

No other publication shows 
data on more Afro-American 
jazz and blues recording 
groups. 

INDEX TO JAZZ gives you the 
dope on jazz records where you 
can find it. No messing around 
with secret codes, etc. You turn 
the page and you see the words. 
The four volumes of the INDEX 
contain data on more than 20,000 
records. 

The price of Vol. No. 3 and 
No. 4 is $1.00 each. You may 
order them from: 

Gordon Gullickson 

FAIRFAX, VIRGINIA 

or 

Orin Blackstone 

439 Baronne St. 
NEW ORLEANS 12, LA. 

(Volumes No. I and No. 2 are now out 
of print. Third editions of these volumes 
are being planned.) 



17 




GEORGE AVAKIAN 
BUCKLIN MOON 
PAUL BACON 



records 
noted 



Bob Wilber's Wildcats 

Frog-i-more Rag 
Oh, Daddy 

Camp Meeting Blues 
Once in a While 

When You Wore a Tulip 
Trouble in Mind 

Listening to these three records, after 
those wonderful Claude Luter sides, may 
seem like a letdown to some of you, but I 
wouldn't slough these off merely for that rea- 
son. Certainly the Luters are more exciting 
to listen to and they are better records in 
every sense of the word, but I have an idea 
that if the Luter band sticks together they 
won't sound any better ten years from now. 
I'm pretty damned sure the Wildcats will, 
however, if they should keep on as a unit, 
which is doubtful but possible. 

I'm well aware that you can't deal in 
futures but I merely want to make a distinc- 
tion here. Luter and his bunch are playing 
in the Oliver style — first, last and in the 
middle. The Wildcats, on the other hand, are 
trying to sound like the Wildcats. If in the 
process they sound like Oliver on some sides 
and like somebody else on others, and if 
Wilber sounds like Pop Bechet all the time, 
I have an idea that this will not always be 
so. People who have heard Wilber and 
Glasel recently tell me both are greatly im- 
proved and that Wilber sounds less like 
Sidney than on these sides, which were made 
almost a year ago, at the same time as the 
other Ramparts, which were released earlier. 

If you like the earlier Ramparts you'll like 
those ; if you didn't don't look for any 
miracles. Of the lot I found the Trouble in 
Mind side the standout ; it has a nice relaxed 
feeling and it's played with the heart rather 
than the head. These records are not always 
successful, but what I like about them is 
that the boys are feeling around for some- 
thing else besides carbon paper. (Rampart 
Album 101. $3.95) (B.M.) 



Baby Dodds, and Baby Dodds Trio 

Buddy Bolden's Blues 
Drum Improvisations No. 2 

That old Jelly favorite, Buddy Bolden's 
Blues, gets a good ride here. Ewell sounds 
enough like Jelly to give the whole thing a 
nice little fillip and Nicholas plays with 
great depth and feeling, the kind of clarinet 
that has always been associated with the 
Crescent City. Baby of course is Baby, 
which brings me to the other side. 



Now I'm perfectly willing to admit that 
Baby is the World's Greatest Drummer, but 
I was willing to admit that after hearing 
him on any old band side. Drum Improvisa- 
tion No. 1 was all right, a nice little novelty 
like maybe when the boys in the band put 
on their funny hats for one number, or when 
Jelly beeped that automobile horn in Side- 
walk Blues. I guess Lincoln said it better 
than I can — you can fool some of the people 
all of the time, and all of the people some 
of the time, but you can't fool all of the. 
people all of the time. This record tells me 
more about drums than I want to know 
about drums. They ain't never going to take 
the place of the piano, Baby. (Circle J-1039. 
$1:05) (B.M.) 

Mahalia Jackson 

Move On Up a Little Higher, 
Part I and II 

I don't know what percentage of collectors 
have gone in for Gospel Singers, but those 
who haven't are passing up a good thing. 
By now it's pretty well established that 
there is a close connection between some 
church music and jazz, between the un- 
prettied-up spirituals and the blues. Play 
your Sam Morgans, or the Original Tuxedo 
Band record of Original Tuxedo Rag and 
you'll see what I mean, or put on a Blind 
Willie Johnson and you'll get it from the 
other direction. Well, those Blind Willie 
Johnsons aren't easy to pickup any more but 
I want to tip you off to something, if you 
don't already know it. 

There's a gal recording today that I'll 
put up against any of them. Her records 
may be hard to come by, if only that you 
may have to go to a store which specializes 
in race stuff to get them, but it's more than 
worth it. Listening to them is an emotional 
experience that I can only compare to that 
I had when I heard my first Bessie Smith 
record, and for my money Mahalia Jackson 
has the greatest untrained voice, next to 
Bessie, that I have ever heard — any time, 
anywhere. 

I have singled out the one of her records 
which will probably have the greatest appeal 
to Jazz listeners. The accompaniment — piano 
and organ — is out of this world and both 
sides rock and build up to a climax that is 
really wonderful. The reason that I have 
only singled out the one record is that I 
hope, at a later date, to do a piece on 
Mahalia Jackson in these pages in which I 
will go into the others in more detail. They 
are, for your information, Apollo 110, 145, 
178 (the Even Me side on this one is my 
pick of the lot), 181 and 194. The sides with 
organ, or organ and piano, are better than 
those with piano alone; Apollo tells me the 



reason is probably that the organist is her 
regular church accompanist. 

I'm not fooling about this gal. She can 
rock a gospel with the drive of a whole 
choir or she can sing a spiritual with an in- 
tensity and depth that makes you want to 
cry. This is the real McCoy! (Apollo 164. 
$0.79) (B.M.) 




Julia Lee 

Living Back Street For You 
Cold-Hearted Daddy 

Willie "Red" (R.I. P.) McKenzie, once 
the acknowledged balladeering master of the 
stiff upper lip, furrowed brow, and noble ges- 
ture, has a serious competitor in Julia Lee. 
Living Back Street for You is about as stiff 
as anybody's u. 1. is allowed to get by law, 
and it's a number that's as dangerous as can 
be for the singer. 

That Julia Lee gets away with it is not 
too surprising, since she's a masterful vocal- 
ist who knows a pitfall when she sees same. 
This is a terribly, terribly brave and senti- 
mental song. It's really an awful one, too, 
but Julia Lee gives it just the right touch so 
that you can enjoy it — especially if you're 
the sort who likes a sudsy head on his beer. 
The accompanying group hasn't much to do, 
except for Vic Dickenson's somewhat star- 
tling trombone — a choked, Harris-like tone 
full of sentiment. That the accompanying 
line-up (not a very good one except for Vic 
and drummer Baby Lovett) doesn't do any- 
thing is just fine with me, anyway. I can — 
and often do — listen just to Julia's one-at-a- 
time left hand and the thirds in her right. 
You can't beat thirds in a spot like this. 

The reverse is another blues made up by 
and played by people who use the blues only 
as a crutch for unoriginality. The blues in- 
dustry makes millions of dollars a year for 
those who have the magic formula for re- 
working the old 3-chord, 12-bar scheme. 
This Julia Lee is better than most, which is 
saying nothing. (Capitol 15300) (G.A.) 



18 



Solo Art Piano Jazz, Vol. I 

Climbin' and Screamin' 

How Long, How Long 

Had a Dream 

St. Louis Blues 

The Fives 

South Side Shuffle 

It's good to see the Solo Art piano solos 
back on the market, and once again Circle 
has gone back to the well and performed a 
real service to jazz. Recorded by Dan Qualey 
in 1937 and pressed only in lots of three 
hundred, these records make up one of the 
greatest bodies of piano music ever re- 
corded. Since all were recorded in the span 
of a single year, they give wonderful docu- 
mentation of differences in style and tech- 
nique. There is all too little piano music 
around and if, like me, you're a hog about 
this kind of thing there will be welcome fare 
indeed. 

Of the lot my own favorite is Yancey's 
Fives, a record that for my money is one 
of the truly greats. It seems to me to pre- 
sent Jimmy at his best, which is pretty 
damn good indeed. I don't know whether 
boogie came from the gulf coast of Texas, 
as some claim, or Was invented by Pinetop 
Smith, as -Pinetop claimed, but I do know 
that in Yancey's hands it became something 
of great beauty. Self taught and limited in 
technique, he always had perfect taste, a 
wonderful sense of phrasing, and — above all 
— an inventiveness which had to be great to 



vary the little he had at his command. The 
result is a music of great beauty and depth, 
and one with a strong emotional impact. 

Crippled Clarence Lofton was also a 'folk 
artist, for lack of a better word, but he is 
as different from Yancey as anyone could 
be. Where Jimmy was brooding and deli- 
cate, Crippled Clarence was joyous, but with 
a savage drive that must have been hell on 
any piano.- Had a Dream is pretty exciting 
stuff — rough, tough and hard to cuff — it 
doesn't lead you by the hand, it hits you over 
the head. 

Of the two Pete Johnson sides, Climbin' 
and Screamin' is the Johnson of the boogie 
revival of the late 'thirties, one of those 
rolling sides that is insidious in the reactions 
it creates by repetitions, varied only when 
you feel that if you hear more you'll scream, 
then back to the basic pattern again to nail 
you down tight. The other side. How Long, 
How Long, is a reminder, as is Ammonds' 
St. Louis Blues, that men known only as 
boogie woogie artists don't only play boogie. 
There is a lot of it in each of these two 
sides, but there is also a lot of regular piano, 
and the combination is an effective one. 
More sophisticated than either the Yancey 
or the Lofton, these two sides show how 
elastic an instrument the piano can really 
be. and each player gets the utmost out of it. 

Then there's South Side Shuffle by Art 
Hodes. In those days, to my ears at least, 
Art played a simpler piano and one that was 
more richly emotional and less cluttered. 

I hope that Circle will keep these Solo 
Arts coming our way. They are a wonderful 
contribution. (Circle S-16. $3.95) (B.M.) 



Russell Jacquet and His All Stars 

Lion's Roar 
Suede Jacket 

The King records I've heard so far sound 
as if they were made in an empty swimming 
pool, so the sound is unusual, to say the least. 
On Suede Jacquet, Leo Parker relieves him- 
self of one note which has been topped, in 
my experience, only by steamships of con- 
siderable size. Sonny Stitt's already sharp 
tone is honed to its keenest, and there's a 
slight echo over the whole proceedings. 

None of the above actually mars the 
music, though. It's pretty good on both sides, 
which differ a good deal. Lion's Roar is an 
interestingly cooler version of a theme well- 
worn by Jacquet's somewhat notorious 
brother Illinois and the here-featured Leo 
Parker. When I call it good I don't infer 
that anything timeless has been done, only 
that the record swings. I may as well warn 
the opposition that I also like Illinois 
Jacquet's Blues, Part Two; in fact, I con- 
sider it to be the best record of its kind I 
know of. By "its kind" I mean all records 
which were made for the purpose of giving 
the listener raw rhythm. For instance, the 
musical content of the average jug band 
side is negligible, but they go like mad, and 
that is their charm. Al Cooper used to have 
an insane little group called the Savoy Sul- 
tans ; someone once said they never tuned 
their instruments for five years, but God, 
how they went, This may have no bearing 
in the case, but great slapstick comedians 
are just as rare as Beatrice Lillie, and, in 
their own way, just as remarkable. 

All persons unmoved by the foregoing will 
conceive an immediate dislike for Lion's 
Roar. 

Suede Jacquet is a different matter, as 
noted, being more on the bop side, and it 
features Sonny Stitt, a good idea. He plays 
gracefully, but with real punch and a faintly 
acid tone. I like this one very much, includ- 
ing Parker's bawdy offering. Jacquet himself 
is a trumpet man ; playing with his brother 
he has been buried behind the fiery Joe New- 
man, and I don't think he is likely to emerge, 
being a capable but unspectacular musician. 
(King 4242) (P.B.) 

Dexter Gordon Quintet — Solo 

Mischievous Lady 
Ghost of a Chance 

Dexter, one of the several enfants terrible 
in the new school, is also one of its better 
tenor-men. He's assisted here by a lady 
trombonist named Melba Liston, and a 
rhythm section (Mischievous Lady), and 
then a different rhythm section (Ghost of a 
Chance). I could wish that Dexter had a 
little less vibrato, or possibly a different 
kind, and that pianist Jimmy Rowells played 
a little longer and louder, on Ghost. The 
tenor inventions are pretty sound, but not 
startling._ 

Lady is far more interesting, thanks to 
the trombone (not in itself wonderful, but 
helpful all the way) and to the jaunty tune, 
typical of the many airy numbers the boys 
like to mess with these days. The break 
Dexter comes in on is pure hokum, modern 
variety — one of those semi-cliches which 
sound sort of daring and are effective en- 
trances : the ensuing solo is nice — he cushes 
very well, and has a strong style to begin 
with. A slightly heavy trombone chorus is 
followed by the only drab spot on the side, 
a piano and bass interlude ; however, they 
pick up well after that, and the whole thing 
leaves a pleasant taste in the mind. (Dial 
1041) (P.B.) 




19 



by edward hill 



The old advertiser's slogan that "a business 
without signs is a sign of no business" 
may be corny, but it cannot be dismissed 
as outmoded. Time and again this depart- 
ment's conductor has pointed out the failings 
of the recording companies in the matter of 
calling various purchase opportunities to the 
attention of those for whom their products 
are ostensibly marketed. 

True, the item of obvious sockdolager 
interest is pushed to an excess far beyond 
the needs of those who grasp at the obvious 
— until it seems that those whose duty it is 
to allocate the promotional budget are de- 
termined to devote themselves to the propo- 
sition that that which sells itself is that 
which deserves the most strenuous advertise- 
ment. Well, I suppose that the results justify 
the procedure, notwithstanding the fact that 
those same results would be' forthcoming 
without the procedure. A certain month's 
release of the Tchaikowsky E Minor may- 
be the third recording of the work within 
the season: yet the adjectives will fly in pro- 
fusion, as if to say "You ain't heard nothin' 
yet!" (Concurrently, a version of unsur- 
passable merit will have been withdrawn 
from the catalog.) 

And what of those items upon which the 
prestige of the manufacturer was established 
and sustained in the mind of the connois- 
seur? Will so-and-so's what-have-you ever 
be available again? Do you recall one of 
your childhood's favorite bits of sass : 
"That's for me to know and you to find 
out?" It fits the present, in some measure, 
for reinstatements are taking place these 
days — reinstatements of meritorious re- 
leases of yesteryear that have been unavail- 
able for a long, long time. You, for whom 
the reinstatements are effected, may have to 
remain in ignorance of the re-issues until 
such time as they are again retired due, of 
course, to lack of sales. It's a crazy busi- 
ness and profits no one; not the manufac- 
turer — not the dealer — not you. For there 
is next to no advertising and certainly no 
fanfare. You need not be told of how nig- 
gardly the promotion of the Heritage series 
has been. If you have discovered some long- 
wanted item, it is because you spotted it on 
a dealer's shelf or because you obtained 
knowledge of its availability by word-of- 
mouth — or from the editorial notice t)f some 
ink-stained savant like yours truly whose 
remuneration is found in the acceptance of 
your presumed good graces. 

Somewhere amongst the back pages of the 
October, 1948, 'RCA-Victor Record Re- 
view there is a listing of eighteen Tito 
Schipa couplings, described as "re-issued, 
thanks to countless requests from coast to 



coast." The titles embrace material dating 
• from the mid-twenties to the mid-thirties, 
operatic excerpts and catch-penny ditties. I 
think you'll find several of these discs 
worthy additions to your collection. Should 
you decide to take in but one of them, let 
me most emphatically urge that your choice 
be the Cherry Duet from L'Amico Fritz in 
which Suzel's lines are projected by that en- 
gaging soprano. Mafalda Favero. Don't seek 
any of these Schipa re-issues under their 
original catalog numbers ; they've all been 
equipped with new 1Q dash and 11 dash 
numbers. 

And don't expect Ideale and Marechiare. 
Those two, previously re-issued as a black- 
Tabel coupling, are among the missing, as is 
that treasurable little side that came along 
in the first year of electrical recording, con- 
taining both La Farfaletta and Girometta. 
And what of Plaisir d'amour and 0 del mio 
amato ben? Never released at all in 
America. What a fine first edition that 
coupling would be ! 



The notion of devoting all ten sides of a 
single Heritage release to a single artist 
is not without merit, for it gives the col- 
lector reasonably to understand that (a) he 
may find something suited to his needs Now 
and (b) should the repertoire contain 
nothing he requires, he likely will have to 
wait quite a while before his favorite's name 
appears again. 

The seventh Heritage release restores 
some superlatively excellent examples of 
Enrico Caruso's singing — among them the 
1906 M'appari, meltingly, lovingly sung; In 
terra solo (Don Sebastiano), one of the 
true indispensables ; the exquisite Bianca al 
par (Huguenots) as sung in 1909 and Mar- 
cello's second act air from the Leoncavallo 
La Boheme. 

It is worthy of note that an earlier re- 
cording, with piano accompaniment, of the 
Huguenots aria exists and that it is vocally 
superior to the one now made available, — 
but the fact is that it does not play as well 
on today's equipment. The Boheme excerpt 
is of interest not only as a superb piece of 
singing but also because of that opera's 
place in the tenor's operatic history. Inci- 
dentally, Leoncavallo makes Marcello a 
tenor and develops the role so that Rodolfo 
is relegated to the position occupied by Mar- 
cello in the Puccini opera. The series also 
includes arias from La Favorita, Samson 
et Dalila, Macbeth, Nero — and a pair of 
Italian songs that are delivered with charac- 
teristic gusto. 

The star of the Eighth Heritage Series is 
that redoubtable singing actor, Feodor 



Chaliapin, and we are exposed to examples 
of his musico-dramatic craftsmanship over 
a period of years beginning in 1909 and ex- 
tending to 1928. Several of the items in- 
cluded are now released in this country for 
the first time and one, the Slumbering Nuns 
piece from Robert, the Devil, is released for 
the first time anywhere. Portions of the 
Russian basso's interpretations in Lakme, 
Norma, Mefistofele and Don Carlos are in- 
cluded in this release — and two of the 
couplings contain scenes from the inevitable 
Boris Godounoff as taken down during an 
actual performance in London in 1928. They 
stand as peculiarly expressive souvenirs of 
a career whose maker was occasionally a 
musician but always a personage of mark- 
edly original individuality. 

I am given to understand that John Mc- 
Cormack is shortly to be accorded an entire 
Heritage series, comprising both ten- and 
twetve-inch records of operatic material. 
When the titles are announced, I shall re- 
port to you, content that no fulsome en- 
comiums will be necessary. I am almost, but 
never quite, resigned that there may never 
be an awakening to the need for such non- 
operatic McCormack treasures as Come 
Into the Garden Maud, My Lagen Love, 
Down in the Forest and . . . and . . . 
and . . . 

Some seasons have passed since the voice 
of Lotte Lehmann was projected in its best 
state and it is not at all pleasant to con- 
template certain recordings of hers which 
cannot but detract from her reputation in 
generations to come. But wait! Have you 
listened to* her most recent, Schubert's Der 
Erlkonig? Sung for the phonograph by 
divers immortals' since time out of mind, I 
never heard the song at all until I put on 
Victor 10-1448. To be sure, Lehmann the 
vocalist is no more, but the divinity of ar- 
tistic inspiration cannot be quenched and 
if, as I have been prone to understand these 
many years, singing is the interpretation of 
text by means of tones produced by a 
human being, then Lotte Lehmann remains 
a singer par excellence, as ever was. 



Oh, by the way, the Gerhard Hiisch discs 
of Beethoven's An Die Feme Geliebte are 
available again. . . . I've been seeing Vol- 
umes 3, 4, 5, 7 and 8 of the Haydn Quartet 
Society sets around. If the sixth volume has 
not been restored, there is cause for much 
umbrage, as it contains some of Haydn's 
most ethereally beautiful pages. Volumes 1 
and 2 never having been domestically avail- 
able at all, I refuse to be concerned. What 
do you think I am, anyway, a music-lover? 



20 



ward pinkett 

(Continued from Page 13) 

attack is far more powerful than on the 
other sides, and his phrasing more rem- 
iniscent of Armstrong than in his previous 
recorded examples. His last session with 
Morton included Fickle Fay Creep, and here 
he uses very powerful phrases with a fine 
broad tone to create an exemplary lead. His 
domination of the ensemble is impressive. 

His sides with Oliver again show him in 
the role of a vocalist. Particularly impres- 
sive is his scat outburst on Stop Crying. 
On this side it appears likely that he takes 
the second trumpet chorus ; there is a phrase 
toward the end which is very typical, al- 
though the tone as a whole is not par- 
ticularly like Pinkett's other work, being 
somewhat more of a virtuoso performance 
than Pinkett usually indulged in. 

His last session with the Rollini group 
was very unsatisfactory — the tunes were 
commercial, and though there are good spots 
of Pinkett, his work appears to have been 
in decline. 

It would be fitting to conclude with the 
opinion of Albert Nicholas (quoted in Jacc 
Information Sept. 20, 1940) : "There was a 
great trumpet player," he says, "one of the 
best men for a small band I ever played 
with." It is to be hoped that collectors as 
a whole will pay more attention to the work 
of this sadly overlooked trumpeter in the 
coming years. 

(A full Ward Pinkett discography, too 
long for inclusion in this issue, will appear 
in next month's Changer. In addition to 
comparatively well-known dates with King 
Oliver and Jelly Roll Morton, the listing 
will include all available data on rare Pinkett 
appearances for which full personnel is still 
unknown.) 



alexander's jazz band 

(Continued from Page 15) 

Frisco Jazz Band : Jack Buck, trombone ; 
and Jack Crook, clarinet. 

Scobey, himself, has a sound, though not 
particularly colorful, musical background. 
An Arizonian by birth and a Californian by 
choice, Bob took up trumpet at the age of 
nine and has been playing ever since. He's 
now 32, but looks younger. Bob has played 
in all types of bands, but has leaned toward 
small combos. During the war he played in 
an Army band and formed his own small 
group, "just to stay out of their dance band." 
Except for the war years, Bob has been with 
the Lu Watters band consistently, outside of 
a few casuals, including some jobs with Kid 
Ory. Bob modestly claims that he "stank" 
when he took Papa Mutt Carey's place a 
couple of times last year, asserting that 
Ory's music was too subtle for him. 

"I was lost!" says Bob. 

He admits it was a different story when 
he sat in last Fall, however. He proved his 
versatility and ability to learn, displaying an 
understanding of Ory's music which earned 
enthusiastic praise from the Kid. 

Despite the variances in their views, 
Scobey names Lu Watters as a prime factor 
in his development as a jazz musician. "Lu 
got me interested in jazz and I learned a lot 
from him." 

Bob has no regrets about leaving Lu's 
outfit, however. He enjoys being the leader 
of Alexander's Jazz Band. 



claude boiling 

(Continued from Page 7) 

well registered and balanced ; the whole ef- 
fect is of a group of experienced and ma- 
ture jazzmen that know what they are 
doing and why. They have the courage to 
do it their own way, a thing that, with 
every year that passes, becomes more dif- 
ficult for a young band to do. Boiling does 
not hesitate, for example, to alter the tra- 
ditional routine of Dippermouth — something 
that even Muggsy Spanier did not do — and 
he brings it off with a number that really 
rocks. 

You Rascal You comes off with such jazz 
verity and yet with such a brilliant con- 
temporaneity that this side, alone, gives some 
idea of how far this band, headed by a teen- 
age French pianist, is apt to go. These boys 
have ability, plus the courage to be original 
in a tradition already sanctified by time. 
For them, not only is spurious "modernism" 
completely out of the question, 'but the New 
Orleans style, itself, is a pathway — not a 
stopping place. 

Boiling's Blue Star sides (which will be 
issued in this country on Circle) should be 
something of a revelation to jazz fans in 
America. Coming on the heels of the re- 
cently published Luters, the solid, swinging 
rhythms of these new sides, the instrumen- 
talism that is, in the main, so brilliant, and 
the authentic jazz feeling, will awaken 
memories of many great jazzmen and jazz 
bands of the past. But one never forgets 
that they are something happening today 
and belonging to today, something of the 
highest importance. There are more here 
than echoes, however faithful, of the past. 
There are overtones of the future : jazz is 
moving on. It is spreading all over the world 
and young bands are playing jazz that older 
musicians might be proud to play. The 
renaissance of pure, real jazz — only ten 
short years ago mainly a dream — is today 
fast becoming a wonderful reality. 

kenneth lloyd bright 

(Continued from Page 16 ) 

there playing -with the angels under a 
heavenly alias, and alongside a trombone 
who was also somebody, but just who we 
never could find out, though it didn't matter 
because it was good enough to just listen 
to him. 

Kenneth always said that Mamie Smith 
was his girl and Johnny Dunn was the most 
underrated horn who ever lived, but the truth 
of the matter was that he always played 
Bessie instead and every time you put on 
an Oliver accompaniment he swore it was 
Johnny Dunn, complete with box coat and 
three-foot-long horn. But you could never 
fool him on where a tune was stolen from ; 
he was a better song sleuth than Sigmund 
Spaeth. And as for Mamie and Johnnny 
Dunn, I'll tell you a secret about that. They 
were from Harlem, right off the same block, 
so to speak, and when that was so you better 
be for them ! Besides, the experts didn't 
like them and Kenneth always prided him- 
self as being the loyal opposition. As he so 
often said, the experts were trying to find 
things in jazz that were never there, and if 
they couldn't find them they weren't above 
putting them in anyway. 

Those of us who had the privilege of 
knowing him loved him, for he was that kind 
of a guy. What more can you say? 

Bucklin Moon 



YERBAj£UENA 

5721 GROVE STREET 
OAKLAND 9 CALIF. 

MAIL ORDERS WELCOMED— SATISFACTION 
GUARANTEED 

We stock ALL jazz and other labels 

(Everything that's advertised in THE CHANGER) 
(Exception: not everything in "For Disposition") 

Excerpts From Our New 
12-Page Jazz Catalog: 

PARAMOUNT (reissues) $1.05 each 

JOHNNY DODDS & R. M. JONES' JAZZ WIZARDS: 

Hot & Ready/It's A Lowdown Thing. 
TOMMY LADNIER ORCH. with EDMONIA HENDERSON: 

Jelly Roll Blues/Lazy Daddy Blues. 
LOUIS ARMSTRONG with F. HENDERSON ORCH: 

Prince of Wales/ (Copenhagen). 
JOE SMITH ORCHESTRA/THE MYSTERY RAGSMITH: 

Heart Breakin' Joe/African Rag. 
FLETCHER HENDERSON, piano solos: 

Chimes Blues/I Want To. 
LEADBELLY: 

All Out and Down/Packin' Trunk. 
JELLY ROLL MORTON & ORCHESTRA: 

Big Fat Ham/Muddy River Blues. 
CLARENCE WILLIAMS ORCHESTRA: 

Squeeze Me/New Down Home Rag. 
JAMES P. JOHNSON/FLETCHER HENDERSON: 

Harlem Strut/Unknown Blues (solos). 
MEADE LUX LEWIS with George Hannah: 

Freakish Blues/The Boy in the Boat 
MA RAINEY: 

Deep Moanin' Blues/Traveling Blues 
FLETCHER HENDERSON ORCHESTRA: 

Swamp Blues/Off to Buffalo. 
SQUIRREL ASH CRAFTSMEN (Bill Priestley, cornet): 

Riverboat Shuffle/Sugar. 
(And more to come: entire PARAMOUNT catalog!) 

S & D REISSUES $1.05 each 

WILL EZELL. CHARLIE SPAND, ALEX HILL, etc.: 

Hometown Skiffle, I & II. 
DOBBY BRAGG: 

Single Tree Blues/Fire Detective Blues. 
JELLY ROLL MORTON'S STOMP KINGS: 

Mr. Jelly Lord/Steady Roll. 
SKIP JAMES/JABO WILLIAMS: 

Little Cow and Calf/Fat Mama Blues. 

NEW CENTURY REISSUES $1.05 each 

BUD JACOBSON'S JUNGLE KINGS: 

Clarinet Marmalade/Laughing at You. 
CHICAGO RHYTHM KINGS: 

Song of the Wanderer/Some Changes Made. 
JOHNNY DODDS etc./YOUNG'S CREOLE JAZZ BAND: 

South Bound Rag/Tin Roof Blues. 
DOBBY BRAGG: 

3.6. and 9/We Can Smell That Thing. 
JIMMY BLYTHE RAGAMUFFINS (Keppard, Dodds): 

Messin' Around/Adam's Apple. 

NEW MEZZROW-BECHET QUINTET, 
King Jazz $1.05 

With vocal by Coot Grant* and Grant & Wilson: 
You've Got To Give It To Me»/You Can't Do That 

To Me. 

Evil Gal Blues/Breathless Blues. 

NEW BECHET-BOB WILBUR ALBUM, 
Columbia $3.95 

WITH BOB WILBUR'S WILD CATS: 79c singly: 
Kansas City Man Blues/Polka Dot Stomp 
Spreadin' Joy/It Had It But It's Gone. 

WITH THE BECHET QUINTET: 
Just One of Those Things/Laura 
Love For Sale/Shake 'Em Up. 

NEW BOB WILBUR WILDCATS ALBUM, 
Rampart $3.95 

When You Wore a Tulip/Frog-i-more Rag 
Camp Meeting Blues/Once in a While 
Trouble in Mind/Oh, Daddy. 

AND: BILL WILLIAMS DIXIELAND BAND 
Album $3.15 

Black and White Rag/Ridin' to Glory on a Trumpet 
Maple Leaf Rag/Muscat Ramble (sic) 
Jeep Blues/At the Jazz Band Ball. 

OUR COMPLETE CATALOG MAILED ON REQUEST. 

West Coast Distributors (catalog on request) : Castle, 
| Circle, Exner, Pacific. Reissue, Rampart, Session. 



HOW THE RECORD CHANGER WORKS 



21 



Abbreviations used in the Classified 
"Wanted" and "For Disposition" 
Sections are as follows: 

Col. I, Record Label: 



At Aeolian 

Aj Aju 

AM American Music 

Aa A »" 

Ar Artiphon 

As Asch 

Au Autograph 

Af .... Aeolian Vocalion 

Ba Banner 

BB Blue Bird 

Be Beacon 

Bl Berliner 

BN Blue Note 

BP ... Brunswick Polydor 

Br Brunswick 

Bt Beltona 

BS Black Swan 

Bu Buddy 

Bwy Broadway 

Ca Cameo 

Ch Champion 

CI Collectors Item 

CI Clarion 

Clg Clangor 

Cn Chantal 

Ca Columbia 

Com Commodore 

Cp Capitol 

Ca Conqueror 

Cr Crown 

CDS Collectors Rec. Shop 

Cs Crescent 

Cx Claitonola 

Dc Decca 

OF Oiscophiles Francoises 

Di Oua 

Dl Dolmetsch 

Oa Domino 

DP Decca Polydor 

0( Disc 

Oi Deluie 

Ed Edison 

EB Edison-Bell 

El Electrola 

Em Emerson 

El Eicelsior 

Fo Fonotipia 

FO .... Fonodpia-Odeon 

FRM Friends of 

Recorded Music 

Ge Gennelt 

GG Grey Gull 

Gl General 

Gr Gramophone 

Gt Gamut 

Ha Harmony 

He Homochord 

Hg Harmograph 



Hgl Hargail 

HMV. His Master's Voice 

HoW Hit of the Week 

HRS Hot Record Society 

Id Ideal 

J» Jewell 

Jl .... Jazz Information 

JM Jazz Man 

Kn : Keynote 

Li Lincoln 

Lu Lumen 

Me Melotone 

Ml Melba 

Mo Monarch 

Mp Masterpiece 

Ms Master 

MV . Musique au Vatican 
MW . . Montgomery Ward 
NMQ New Music Quarterly 

Ns Nordskog 

Od Odeon 

OL Oiseau Lyre 

Op Olympia 

Or Oriole 

Pa . . Parlophone 

Pat Pathe 

Pd Polydor 

Pe Perfect 

Pm Paramount 

Pr Pro Musica 

Pu Puritan 

Ra Radiodisque 

Re Regal 

Ro Romeo 

Ry Royale 

RZ Regal -Zonophone 

SA Solo Art 

Sal Salabert 

Sbl Sonabel 

Sg Signature 

SI Silnertone 

St Sterno 

Su Sunshine 

Sw Swing 

Sy Syrena 

Te Technichord 

Tfk Telefunken 

TM Treasury of Music 

Tr Triangle 

UH United Hot Clubs 

Ul Ultraphone 

Ve Vel»etone 

Vi Victor 

ViE Export Victor 

Vo Vocalion 

Vr Variety 

Vs Varsity 

Vy Victory 



Whan it is necessary to indicate nationality of 
the record, the following letters appear after 
the record label abbreviation: 



A Argentinan 

Au Australian 

B Brazilian 

C Canadian 

E English 

F French 



G German 

I . . . , Italian 

J Japanese 

M Meiican 

S Swiss 

Sd Swedish 



In the "For Disposition" section the condition 
of the record is indicated by these abbrevia- 
tions: 

N (New): Surface noise equal to an unplayed 
record; no visible or audible wear percep- 
tible; original finish intact. 

E (Excellent): Surface noise low. smooth, uni- 
form Not irregular or crackling. Easily dis- 
regarded in listening. No perceptible distor- 
tion. 

V (Very Good): Surface noise somewhat 
more prominent; light foreign noises, but 
slight distortion, if any; noises not seriously 
distracting. 

G (Good): A moderate amount of surface 
noise: background may be somewhat irregu- 
lar and crackling; some foreign noises, and 
a little distortion; on the whole, reasonably 
satisfactory listening without undue distrac- 
tion of attention. Foreign noises definitely 
less prominent than the music. 
F(Fair): Foreign noises, taken together, are 
about as prominent as the music, and there 
Is considerable distraction of attention, and 
listening requires some effort and concentra- 
tion: nevertheless, under these copditions. 
listening should be fairly satisfactbry. 
P (Poor): Foreign -noises, collectively, are 
louder than the recorded music: continuous 
concentration is required, and there is little 
satisfaction in listening. 



Column 4 of the "For Disposition" section shows 
the method by which each record is to be dis- 
posed. 

"SAL 1 ': The record is for sale at the price 
indicated. 

"AUC": The record is at auction. The highest 
bid takes the record. Bid only what the 
record is worth to you. 



"TRA": The record is for trade only. If you 
are not familiar with the wants of the ad- 
vertiser send for his want list. If you have 
certain records in which he may be in- 
terested, mention these in your letter. 

The eitreme right column in both the "Wanted" 
and "For Disposition" sections shows the first 
four letters of the advertiser's name. His ad- 
dress is shown below. 



ADVERTISERS WHOSE ADDRESSES ARE NOT SHOWN ELSEWHERE 

MAD I : JOSEPH MADISON 2825-34TH 



ALCO: JOHN ALCOTT 374 WAVERLY 

OAKS, WALTHAM 54, MASS. 
ARG: AMALGAMATED RECORD GROUP 

P.O.BOX 34i COOPER sta. nyc 

AVER: RAY AVERY, THE RECORD 
ROUNDUP 1630 S. LA CIENEGS 
BLVD. LOS ANGELES 35, CALIF. 

BROC: CHARLES BROCKMAN 466 
KIMBALL AVE., YONKERS, NY 

BRON: ED BRONNER 10 W. 86 ST. 
NYC 

CARV: OLIN G. CARVER 2||6 

WEST AVE. H, TEMPLE, TEXAS. 
CIAR: ANTHONY P/CIARDI |||9 

LUZERNE ST., SCRANTON 4, PA. 
COHE: NORMA N COHEN 4622 N. 

WARNOCK ST., PH I LADELPH I A, PA . 
COOK: ELSON cook Box 769 

PHOENIX, ARI23NA 
COOW: WILLIAM J. COOKE 663 

EAGLE AVE., BRONX 55, NYC 
COST: M.T.COSTELLO 1 09 EDDY 

ST. ,SPRINGF| ELD 4, MASS. 
FISH: G.B.FISHER III RE I GATE 

RD., BROMLEY, KENT, ENGLAND 
GLOB: GLOBE AGENCIES 55 W. 42 

ST., NYC 
GOLD: HOWARD GOLDBERG l|2 

TUDOR PLACE., BRONX 52, NYC 
GOLF: FRANK GOLDMAN 594 E 40 

ST., BROOKLYN, NYC 
HIRSl BILL HIRSCH, FIFTH AVE. 

HOTEL, RM 823 N.Y.C. 
HOLB: RICHARD G. HOLBROOK 

GUARD HILL RD., BEDFORD 

VILLAGE, N.Y. 
KEND : BYRON KENDIS 4927 BOUDINOT 

ST. ,PH I LADELPH I A 20, PA. 
KILR: N.A.KILROY 3505 MEISNER 

ST., LOS ANGELES 33, CALIF. 
KNOEtPETER KNOEFEL lOl W. 

CHESTNUT ST., LOUISVILLE 2, KY . 
KUNK: MRS R.R.KUNKLE 302 SOUTH 

I -OKA , MT PROSPECT, ILL. 
LEVI: FLOYD LEVIN 405 N. NORTON 

AVE., LOS ANGELES 4> CALIF. 
LIOU: JOHN LIQUOR I 4563 N. 

COLORADO ST., PH I LADELPH I A , PA . 



AVE., SAN FRANCISCO 1 6, CALIF. 
MAGG: ARNAUD MAGGS 2040 GREY 

AVE. , MONTREAL 28, CANADA 

(25«* PACKING CHHRGE) 
MARCl CY MARCUS ,0&L MUSIC CO., 

2373 E. 24ST. BKLN 29, NY 
MAYE: H.MAYER 263 BILTMORE AVE 

ELMONT, L. I . , N.Y. 
MERK : EDWARD MERKLER 299 RIVER- 
SIDE DRIVE NY 25 NY APT 1 8 
MILL: HAROLD MILLER 26 W. 74 ST 

NYC 

MOUL: W.R.MOULTON 22 1 GERRY RD . 
CHESTNUT HILL 67, MASS . 

OLIVj W.T.OLIVER C/O 26 DEVON- 
SHIRE PLACE NEWS, LONDON W.I 
ENGLAND 

ORLA: JAMES ORLAND i,D I CKERSON 

RUN, PA. 
PARR: SID PARRY 574 w. 1 76 ST 

NY 33, NY 
PHIL: W.L.PHILLIPS | 26 W. FIRST 

A VE.,KANNAPOLI S, N.C. 
PIKE: GILBERT L. PIKE 10 W I NNE— 

MERE ST., MALDEN 48, MASS . 
QUIN: W.W.QUINN 4406 AVE. J, 

GALVESTON, TEXAS 
REEK: LINDSAY S. REEKS 1 476 

PATTERSON AVE., FRESNO, CALIF. 
ROSE: BORIS ROSE 2 1 I E. |5 ST. 

NYC 

SCHN: JACOB SCHNEIDER 1 28 W. 

66 ST., NYC 
SHAY: HOWARD B. SHAYER 3|57 

CONEY ISLAND AVE., BKLN 24 NY 
STOL: GENE STOLL 55 1 4 S. ASOTIN 

TA COMA 8, WASH. 
TERR: EZRA TERRY, DORSET, VT. 
TOML: JERRY TOMLINSON 924 

LEIGHTON, KEOKUK, IOWA 
TOWN: ROGER. W. TOWNSEND 5609 

BRAMBLE AVE., CINCINNATI 27, 

OH I 0 

UMPH: G.WALLACE UMPHREY , BURTON 

WASH I NGTON. 
VJR: VINYLITE JAZZ REISSUES 2l| 

E. |5 ST., NYC 



22 



WASHS HARKLESS WASHINGTON, JR. 

1575 TURK ST., SAN FRA CISCO, CF 
WElNl RAYMOND WE I NSTE I N 38 

THATFORD AVE., BKLN, NY 
WEND? ROY WENDELL ENGINE 4 

MFD RIVERSIDE AVE.,MEDFORD 

MASS. 

ZEIGS LES ZEIGER 1056 SHERMAN 
AVE., NY 56, NY 



NOTE 



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* • * 

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23 



AUCTION AUCTION 
MARCIA AND EARL BARLOW 

82 PARXIAY, WILC.0UGH8Y, OHIO 
WINNERS NOTIFIED AND SHIPMENT MADE ON RECEIPT OF AMOUNT DUE AND SHIPPING INSTRUCTIONS 
254 PACKING CHARGE ON ALL OREDERS UNDER $ lO.CO. 



LIL ARMSTRONG 

TH street/secret flame DE 7739 N 

SIT DOWN STRIKE/knOCKIN CABIN DE |272 N 

LETS CALL IT LOVE/u MEAN SO MUC DE 1 502 N 
LOUIS ARMSTRONG 

N GLOAMI NG/EVERYTH I NO BEEN DONEDE 3825 N 

GUT BUCKET BL/IN THE BARREL OK 826l F 
BIX 

TODOLIN BL/DAVENPORT 6L(wh LAB) SE 6 N 
ELLINGTON 

MEMORIES OF u/CANT GIBE U (YELL)BB 6280 N 

harlemania/stevedore st(yellow) BB 6306 N 



ELLINGTON CONTINUED 
bandana babies/must have man 

DIGA DOo/l CANT GIVE U 
HARLEMAN I A/jAP DREAM 
SWANEE SHUFFLE/mIJS. 
MY GAL GOOD FOR NOTHIn/| MADE 



its Glory/daratoga SWING 

JAZZ C0NVULS IONS/J LLY WOG BB 
ADM I RAT I On/ma OR I BR 
DOUBLE CHECK St/aCCRDIAN JOE BR 
ALL ST WAIL/COTTON CLUB STOMP BR 
RUNNIN WILD/HOOD INDIGo(lAB REV)BR 



bl harlem/best wishes 


BR 


L 1 GHTN 1 h/jAZZ COCKTAIL 


BR 


swi*g low/ducky WUCKY 


BR 


RAISIN RENT/HAPPY AS DAY 


BR 


im satisfied/jive stomp 


BR 


RUNNIN WILD/ROCK IN CHAIR 


BR 


SWEET MAMA/WHEN U SMIL IN 


BR 


MERRY GO ROUND/aDM 1 RAT ION 


BR 


trucki n/accent ON YOUTH 


BR 


margie/cotton 


BR 



BB 10245 N 
4705 N 
4776 N 
4783 E 
4887 N 
4952 E 
6374 N 
6404 N 
6432 E 
6571 N 
6638 N 
6732 N 
681 I N 
7440 N 
75|4 E 
7526 N 

GREATER LOVE/lSNT LOVE ST RANGE ST7625 N 
CLARINET LAMENT/ECHOS HARLEM BR 
BLACK BUTTERFLY/HARMONY UARLEM BR 
LOST MEDITATION/GLIDING BLUE NO BR 
SKR0NTCh/|F U IN MY PLACE BR 
SLAPPIN 7 AVE/SWING HONOLULU BR 
SE RIO GRANDE/GYPSY WITHOUT SONG 
OINAHS IN JAM/u GAVE ME GATE BR 
MIGHTY LIKE Bl/bUFFET FLAT BR 

portrait of uion/somthin to livebr 
solid olo man/smorgasbord br 
expos i t i on swing/will huoson br 
freeze melt/miss. moan co 
beggars bl/sat function 
rocky mt bl/8ig house bl 
misty uorn/bl with feel in 
wiloest gal/put selb my place 
soph lady^erry si round 
hyde park/aint mi6beh 
harlem speaks/chicaco 
sing u si nners 
st james inf/ 
bakibt/giooy bug gallop 
new e st louis/i got be ruq 
theres lull/swell of u ms 
u cant run away/lady coulont k i sms 

ALABAMY HOME/aLL GODS CHILLUM MS 
8WAMPY RIVER/SLA K BEAUTY 
SNAKE HIP OANCE/jUNGLE JAM 
DIGA DOO/OOIN LOW DOWN 
RING DEM BELLS/(LOUI s) 
E ST LOU IS/HOP HEAD 
TAKE IT EASy/(tRAM-BIx) 

IM SO IN love/(n sissle) 

ESQUIRE 6WANK/^I I OR I FF 



CO 



7650 N 
8044 N 

8083 N 
8093 V 
Bl 3 1 v 
8|86 E 
8|69 V 
823 1 N 
8365 N 
8380 N 
82l3 E 

i ei 3 n 

1868 E 
CO 35682 N 
CO 35955n/e 
CO 37957 N 
COE 591 N 
DE 323 N 
DE 800 N 
HOW 1 045 N 
HOW |04£ N 

HMV 9254 N 
1 0 1 N 
1 1 V 
1 24 N 
137 N 
8636 N 
OK 8720 N 
OK 41096 N 
OK 4] 468 F+ 
PAE 220? N 
PAL 2304 N 

PE 15649 E 
SW 230 N 



MS 



OK 



VI 38007 G 
VI 38008E/V 
VI 38045 N 
VI 38089 K 
VI 38130 N 

SWEET JAZZ MINE/SWEET D REAMS LO VI 38143 N 
mood mist/c jam bl VIC27S56 n 

OKLAHOMA STOMP/(jUNIE C COBB) VO I 449 N 

ELLINGTON UNITS 

LULL AT DAWN/CHARLIE CHULO BB |098| E 

squsTTY roo/thing aint used be bb ii447 n 
passion flower/goin out back way^3008|7 n 
solid rock/night wind 
i know u know/buck Clayton) 
mooo romance/your love faded 
give it up/dry so long 
top bottom/toasted pickle 
lull at dawn/portar it louise 
soft warm/wrap toubles 
step steps up/down 
tea for two/moon glow 
rexati ous/lazy man shuffle 
where are u/dio anyone ever 
4^ street/solace/ 
fool in self/never go heaven 

TEA TRUMPETs/bAC RM STOMP 



DEMI TASSE/jAZZ ALA CARTE 
SWING BABY SWING/SUGAR HILL 
MY DAY/SILVER MOON GOLDEN 
DRUMMERS DELIGHT/lF I THOUGHT 
ECHOS HARLEM/HAVE HEART 
I LET SONG/lF U IN MY PLACE 
JEEP BL/RENDEZVOUS RHYTHM 
EMPTY BALLROOM/u WALKED OUT 
JITTEBUG LULLABYE/BL SERENADE 
SWINGIN DELL/LOVE SWINQTIME 
JEEP JUMP IN/PRELUDE TO KISS 
HODGE PODGE/wANDERLUST 
MOBILE BL/GALAVANTIN 
DOOGIE W00G1E/MISS. CREAUBOAT 
HOMETOWN BL/DANCE GOOB 
RENT PARTY BL/RABBITS JUMP 
SAVOY STRUT/GOOD GAL BL 
BARNEY GOIN EASY /MINUET IN BL 
STUFF SERENADE/lLL COME BACK 
TIRED SOCKS/SKUNK HOLLOW BL 

BUD FREEMBN 
LIFE SPEARS J I TTERBUG/WHATS USE COM 507 N 
3 LITTLE WORDS/SWINGIN WITHOUT COM 5|4 N 
sensation/oh BABY (RED LABEL) DE 18065 N 
LIONEL HAMPTON 

26017 N 



HRS 


1004 N 


HRS 


1 026 N 


OK 


5940 E 


OK 


5690 N 


OK 


6336 N 


REX 


9001 N 


REX 


9002 N 


SG 


28 1 |4 N 


SG 


28 1 1 6 N 


VR 


5|7 N 


VR 


54 1 N 


VR 


564 N 


VR 


576 N 


VR 


6l8 N 


SPINAC 


626 N 


VR 


655 N 


VO 


3844v/e 


VO 


3948 V 


U VO 


3985 E 


VO 


3960 V 


VO 


4046e/n 


VO 


4i |5 N 


VO 


42| 3 N 


VO 


4309 E 


VO 


5335 N 


VO 


4386 N 


VO 


4573 N 


VO 


4636 E 


VO 


4849 N 


VO 


4941 N 


VO 


5100 E 


VO 


51 70 N 


VO 


5378 N 


VO 


5448 E 


VO 


5533 N 



HARLEM RIVER QUIVER/WASH WABBLE VI 2|284 E 

MOOD I ND I GO /WHEN BL MAN BL VI 22587 V 

BL AGAIN/BERT LOWn) VI 22603 N 

IT6 GLORY. BLOWN BERRIE6 VI 2279lv/E 

BL BUBBLES/BL 1 LOVE SING VI 22985 N 

HTTIN BOTTLE/LINOY HOP VI 2301 6 V 

MEMORIES OF u/lUCKY TO ME VI 230|7 N 

SAM AND DELILAh/bL JEANS VI 23036 N 

|M SO IN LOVE/AUNT TILLIE VI 23041 N 

RUDE I NTERLUDE/OALLAS 00IN6 VI 2443l E 

COCKTAILS FOR 2/LIVE LOVE VI 246|7 N 
MY GREA TEST M I STAK E/o I X I E RDSIOEVI 267 1 9 N 

GIRL I N 0 REAMS/FLAMI NGO VI 27326 N 

JUMP FOR JOY/BRWNSKIN GAL VI 275|7 N 

ROCKS IN BEd/bLI BLIP VI 27639 E 



MUSK RAT RAMBLE/ R I NG DEM BELLS VI 

FLETCHER HENDERSON 
VARIETY STOMP/ST LOUIS SHUFFLE BB 10246 N 
ART HOPES 

ORGAN GRINDER Bl/sELECTION GUTTERCOM 545N 
ROYAL GARDEN Bl/|03 ST BOOG JR lOOl N 

BUNK JOHNSON 
panama/down iy river (wh label) um 8 n 

GME KRUPA (GOODMAN) 

BLUES ISRAEL/THREE LITTLE WORDS DE |8||4 N 

WING IE MAM ONE 
BEALE ST BL/FAREWELL BL BB |040| E 

MEH MEZZROW 
BL IN DI8GUISE/THATS HOW 



MCBB 



FEEL VI 25636 E 
B 10209 N 



TAILSPIN 8L/NEVER HAD REASON 

REO NICHOLS 

R I VERBOA T SHUFFLE/ECCENTRIC BR 3627 V 

MUGGSY SPAN IER 

BIG BUTTER EGG MAn/e CCENTR I C BB |04|7 N 

D I PPERMOUTH BL/SISTER KATE BB 10506 N 

JAZZ BAND BALL/LIVERY STABLE BB I 05 1 B N 

JOE SULLIVAN 

HONEYSUCKLE ROSE/aiN MILL BL UHCA 3| E 



AUCTION SALE 
ROY HIGGINSON 

BOX 484, CARLSBAD, CALIF. 
ALL DISCS FOR SALE 50^ EACH UNLESS HIGHER 
OFFER RECEIVED. MINIMUM ORDER $ 2.00. WINNERS 
NOTIFIED. 



AL BOWLLY AND RAY NOBLE 

BASIN ST BL/MELANCHOLY BABY VI 25007 E 

RED SAILS/rCLL ALONG PRAIRIE V| 25|42 V+ 

DICK POWELL 

lullabye broadway/m IRACLES BR 7374 N 
2 SIDES EVERY STORY/FANCY MEETIN'.DE 924 E 
MORTON DOWNEY 



vi 22973 v+ 
VI 22674 E 
ME I 33 1 7 v 
PE 5|20| V+- 
VI 2l 806 v 



WABASH MOON/MOTHERS APRON 
LITTLE CHURCH VALLEy/sAY A 
LITTLE WHITE GARDENIa/| LUCKY 
U ARE MY LUCKY/THANKS MILLION 
M SORRY SALLY/HOW ABOUT ME 

BOSWELL SISTERS 

AMONG SHELTERING PALMs/sENT GENTCO 36522 'N 

LONESOME ROAD/GOIN HOME BR 695 1 V+ 

LET SELF GO/ALL EGGS ONE BASKET DE 709 E 

SHINE ON HARVEST/HEEBIE HEEBIES BR 6|73 V 

ITS THE GIRL/lTS U BR 6|5| V 

THANK U MR MOOn/nOTHING SWEETER BR 623l V 

TAKE SUGAR TO TEa/hOW DO BR 80011 V+- 

HIGHWAY TO HEAVEN/( TAYLOR ) VI 22500 V 

MILLS BROS 

ST LOUIS BL/CONEY ISL WASH 
r|SS OTIS REGRETS/OLD FASH LO 
CH I N a town/ ca reless love 
LAZY RIVER/627 STOMP 

VICTOR YOUNG ORCH 
BL DANUBE/GLOW WORN 
WORLD WAITING SUNR I SE/FAUST 
WISHED ON MOON/WHY DREAM 
ROSE IN HAIR/u CAN BE KISSED 
IF I HAO WAY/COCOANUT ISL 

SAMMY KAYE ORCH 
MY BL HEAVEN/SWEET GA BROWN 
WHlSPERING/l MARRIED ANGEL 
DIPSY DOODLE/SWING HERE TO SI 
josephine/harbor LIGHTS 

ON WISCONSIN MEDLEY/l ND IANA V 

NAT BRANDYW I NE 

THESE FOOLISH Th/tAKE MY HEAF 
GLORY LOVE/LAZY WEATHER 

DON BESTOR ORCH 
72 st/shuffle off buffalo 
prize waltz/call u mine vi 24693e 

CHICK BULLOCK ORCH 
SMOKE GETS IN EYEs/CANT TAKE IT ME 12865 V+- 
GOT WORLD ON STRING/ny TIME PE 13042 V+- 

TINKLE SONG/SIME AGAIN VO 4847 E 

GUS ARNHE IM 
IF I HAD WAY/WETTHEART WHERE ARE UV I 22058E 
LOVABLE AND SWEET/DREAM MEMORY VI 22054 V+ 
THIS IS HEAVEN/SLEEPY VALLEY VI 2|986 V+ 

AL DONOHUE 

DEEP PURPLE/SPEAK OF U PFTEN VO 4596 E 
24 HRS DAU/LOVE MAKES WORLD GO DE 599 N 

ARTHUR TRACY (STREET SINGER ) 

FAREWELL TO ARMS/l BRINQ SONG BR 65l 2 E+ 

LETS FALL LOVe/l»TTLE DUTCH MILLVO 267l E+ 
DICK TODD 

ALL TH LS HEAVEN TOO/wHERE KEEP BB 10789 E 

LITTLE BIT SOUTH NORTH/gOWELL BB I 1 091 V+ 

TONY MARTIN 

LAST TIME I SAW PARIs/lONDON DE 3591 E 

HILLS HOME/COWBOY SEREN DE 3989 E 

JOE HAYMES 

ALL IS FORGOTTEN N^w/DAYDREAMS ME 1 3 1 42 E 

LITTLE BUCKEROO/LOVE BG B I TE U ME 705 I 3E 

RUTH ETT ING 

FAITHFULLY YOURs/MOONL I GHT T IME CO 2470 E 

OUT OF NOWHERE/SAY PRAYER CO 2454 E 

GOODNIGHT MY LOVe/nEXT ROMANCE DE 1107 E+- 

HAPPY GO LUCKy/tHSTS WHAT ME |2375 E 

TRY LITTLE TENDERNESs/yOUNG FELLPE 13040 V+- 

guilty/now U GONE CO 2529v/e 

kiss waltz/dont TELL HER CO 2280 v+ 

DANCING MOONLIGHT/EVERYTHING I BR 671 9 V 

WHAT IS SWEETER/u MY PAST BR 6671 V+- 

THATS WHAT I LOVe/aINT GOT NO BO CO 692 V 



ME 


1 3 1 78 


E+ 


DE 


166 


V 


BR 


6305 


V 


DE 


4|87 


v+ 


OE 


134 


E+ 


DE 


135 


E+ 


DE 


506 


V+ 


DE 


489 


V 


DE 


842 


V 


VO 


4109 


E 


VO 


4|40 


V 


VO 


3849 


V 


cq 


8905e/v 


VI 


26035 


V+ 


BR 


7676 


V+ 


BR 


7660 


E 


VI 


24253 


E 



24 



AUCTION 



AUCTION 



ARNOLD'S RECORD SHOP 

251 HUNTINGTON AVENUE 
BOSTON 1 5, MASS. 

CONDITION OF ALL RECORDS GUARANTEED. ONLY WINNING BIDDERS WILL BE NOTIFIED, NO 
PACKING CHARGES. ALL RECORDS SHIPPED PP COD UNLESS OTHERWISE SPECIFIED. 



DOMEST IC LABEL COLUMN 

ADRIANS (ROLL IN I) RAMBLERS 

BETTER TO LOVE u/wlSH I TWINS BR 6889 

GET GO IN/KEEP ON DO I N W AT BR 6786 

HENRY ALLEN 

EVERYBODY SHOU T/DANC I NG DAVE VI 38 I 2 I 

SUGAR HILL FUNC/U MIGHT GET BETTVI 38|40 

MILDRED BAILEY 
home/stop the sun/ BB 7763 V-h 

BUTTERBEANS AND SUZIE 

ELEVATOR PAPa/tIMES IS HARD OK 8833 N 

SIDNEY BECHET 

TROPICAL MOOD/BABA VS 8360 E 

SAVE IT PRETTY MAMA/STOMPY JONESVI 27240 V+ 

viper mad/sweet PATOOTIE DE 7429 

BLACK STICK/*HEN SUN SETS DE 2|29 

JOHN BOLES 

ROMANCE/AFTER MILLION $ DREAM VI 22230 
one girl/west WIND VI Z?.?.?£ 

COLLEG I ANA (OLD GRAD RARITIES) 
DARTMOUTH COLLEGE GLEE CLUB 



MEN OF DARTMOUTh/sEA FEVER 
PRINCETON GLEE CLUB 

OLO NASSAU/ORANGE BLACK 

N.Y.U. GLEE CLUB 

ALEX-OLD NYU/PAL I SADES 

FORDHAM UN IV GLEE CLUB 
AVE maria/alma mater(the ram) 

CHARLESTON CHASERS 
FA REWELL BL/my GAL SAL 



CO 



3174 
3195 
3177 
3 1 75 
1539 
1629 
10241 



B I NG CROSBY (PW RHYTHM BOYS) 
RHYTHM KING/MY DESIRE CO 

JOHNNY DODDS HOT 6 
Isabelle/heah me talkin bb 

BOB CROSBY 

OLD SPINNING WHEEL/DEVIL DEEP BLDE 1196 
DUKE ELLINGTON 

SLACK BEAUTY/JUBILEE STOMP VI 2 1 580 

|2ST RAG/ROCKIN RHYTHM BR 6038 

SW I NGT I ME HONOLULu/sHOPP I N 7TH AVEBR8|3| 

DIZZY GILLESPIE 
cherokee/mel ncholy baby bw 18 



MAN 1 042 N 



GOOD BAIT/CANT GET STARTED 
TEDDY HILL NBC ORCH 

TWILIGHT TURKEY/STUDY BROWN 

FLETCHER HENDERSON 

BLAZIN/WANG WANG BL 

ALEX JOHNSON 

SUNDOWN BL/MISS MEAL CAMP BL 

LONN IE JOHNSON 
BED OF SAND/SUN TO SUN BL 
JUST CANT STAND/ANOTHER LOOK 
CROW IN ROOSTER Bl/wAY DOWN THAT 
SAM U CANT DO/NO MORE TROUBLES 

MC KINNEYS COTTON PICKERS 
LAUGHIN LIFE/NEVER SWAT FLY 
COME LITTLE CLOSER/TO WHOM IT 
WILL U WONT u/ROCKY ROAD 

JIMMY NOONE ORCH 
LULLABYE BDY/HERE COMES COOKIE 

DICK POWELL 

CAUSE BABY SAYs/l KNOW NOW 
HITCHED WAGON/LIKE A FISH 
DON REDMAN 

EXACTLY LIKE u/sUNNY SIDE ST 

CLARA SMITH 
MAMA GONE/BASEMENT BL 
HE MINE/STILL DOWN SAM 

VICTORIA SPIVEY BOYS 

BLACK SNAKE SWING/nEVER FALL 

MAMIE SMITH (RARE ORCH A CC. 

WHAT HAVE U DONE/SWEET BA BL 

CHARLES AND EFFIE TITUS 

SWEET MAMA GOOOIE/aLABI PAPA 

EDITH WILSON AND JAZZ HOUNDS 
HES MEAN MAN/DOUBLE CROSS IN C OB 1 4054 

WASHBOARD RHYTHM KINGS 

MNY HAPPY RETURNS/SHOOTEM VI 228|4 



BB 


6943 


M- 


CO 


1913 


N- 


CO 


14446 


N 


OK 


8291 


V 


OK 


8886 


N 


OK 


8574 


N 


OK 


8831 


N 


VI 


23020 


V+ 


VI 


23035 


N- 


V 1 


22932 


N- 


vo 


2908 


E 


DE 


1 3 1 0 


N 


DE 


1557 


N- 


VR 


580 


v+ 


CO 


14039 


M- 


CO 


14053 


N 


DE 


7203 


N— 


:.) 

V | 


20233 


N 


OK 


8459 


N ': 





VOE 


164 


N 




PAE 


2982 


N- 


u 


BRE 


2521 


N 




COE 


370 


N 




VOE 


1 61 


N- 




BRE 


3788 





FOREIGN LABEL COLUMN 
LOU IS ARMSTRONG 
KNEE DROPs/sK IP BUTTER ODFI65578N 
PEANUT VENDOR/DRIVING ME CRAZY 0DF2384O4N 
THAT RHYTHM MAn/bL TURNING GR PAE 1 496 N 

LOUIS WITH CARROLL DICKERSON ORCH 
STOMP DE LOS SAVOY/TOQUES S I NF I NOD A 2 9523 I N- 
BUNNY BERIGAN 

TREES/BLACK BOTTOM HMV 8907 V 

MELODY FROM SKy/lATER ON 

COUNT BASIE 

JITTERS/ROYAL GARDEN BL 
BOOGIE WOOGI E/EXACTLY LIKE 
BAMBo/mAD BOOGIE 

MILDRED BAILEY 

LOVING u/jUST STONES THROW 

K I 'G COLE TRI 0 
bab-8/are u for it 

BI B CROSBY BOBCATS 
BIG FOOT JUMP/jEZEBEL DEE 7|75 N 

SWINGIN SUAGR 8 Wl/pRAYIN HUMBLEDEE 700l N 

SING CROSBY WITH GUY LOMBARDO 

WALTZ NG IN DREAM/WELL MAKE HAY COE 2074 N 
LAZY DAY/YOUNG HEALTHY COE 2027 N 

GABRIELS HORN/LAST ROUNDUP COE I 894 N 

RIGHT SIDE OF ROAD/lVE GOT WORLDCOE 1 964 N 
GUS CLARK ALL STAR BAND (VERY RARE ) 

PARADE NEGRE/APPEL DE LA JUNGLE HOT 20 E 

DUKE ELLINGTON 
ITS GLORY/AUNT TILL IE VOIX SON MAITRE8308N 
COTTON TAIL/NEVER NO LAMENT HMV 9090 N 

SUMPIN BOUT RHYTHM/jlVE STOMP POLY5800IN 
BLACK TAN FANT/wABASH Bl(cHAS CH)PAE22|| N 
ESQUIRE SWANK/MIDRIFF SW 230 N 

BLACK TAN/CREOLE LOVE HMV 4957 N 

ARABIAN LIVER/CREOLE LOVE HMV 4895 N 

JAPANESE DRESM/TROUBLED WATERS HMV 54 N 
DROP ME OFF/CLARI BET LAMENT PA I ND I A 80 N 
RUDE INTERLUDE/DAYBREAK EXPRESSHMVA I 335 N 
ANY TIME ANY DAy/eERIE MOAN BRE 1 462 V+ 

BUD FREEMAN 

CRAZEOLOGY/CANT HELP LOVIN 0DF|6558|N 

FRIARS SOC IETY ORCH 
ECCENTRIC/FAREWELL BL BRE 22 1 I N 

FRANK BIG BOY GOODIE ET SON ORCH 

WHOS SORRY NOW/RHYTHM IS BUS I N SW 222 N 

ALEX COM BELLE 

PARADE DES RAMPARTs/H I ER ET ANJ SW I 1 0 N 
ECHO/ELLE ET LUI SW 1 63 N 

QUA TRE TICKETS/TIGER RAG SW 84 N 

BENNY GOODMAN-GENE G IFFORD 

KING PORTER/SQUAREFACE HMO 8374 N 

FLETCHER HENDERSON 

WHITEMAN STOMP/lM COM I N VA COF 308l N 

ART HODESORCH 
LIBERTY INN DRAG/GEO CAKE WALK BRE 3438 N 
GET HAPPy/| ND IANA BRE 3452 N 

BILLY HOLIDAY 
MAN I LOVE/ IGHT DAY PAE 2747 N- 

BACK IN BACKYARD/VERY THOUGHT PAE 262 1 E 

BENNY GOODMAN BOYS 
MUSCRATSCRAMBLE/A FTER A WHILE BRE 1 264 N 

JAZZ CLUB MYSTERY JIVERS 
BL SKYS/MUST AVE THAT MAN VICTORY 9044 N 

FRE DIE JOHNSON ET SON ORCH 

HI DIDDLE DIDDLE/AINT MISBEH SW 2|0 N— 

CLAUDE LUETR 
PIMLI Co/cARELESS LOVE SW 262 N 

RED MC KENZIE (MUGS-HAW) 

ONE HOUR/HELLO LOLA HJV 8952 N 

GLEN MILLER 
MOONLIGHT SERENADE/SUNRISE SER REGE3090 N 
DJANGO REINHARDT 

AT JIMMYS BAR/TEARS 
MINOR SWING/VIPERS DREAM 
ANNIVERSARY SONG/FOLIE AMPH10N 
LES JEUX NUAGES 
ECHOS SPA I n/nAGUI NE 



SW 


79 


N- 


SW 


23 


N 


BS 


33 


N 


SW 


88 


N 


SW 


65 


N 



SALE AUCTION 
MURRAY SAUNDERS 

I 80 I N. QUINN ST., ARLINGTON, VA. 
SHIPPING CHARGES PREPAID ON ORDERS OVER 
% 5.00. 25?! PACKING CHARGE UNDER % 2.50 
WINNERS NOTIFIED AND SHIPMENT MADE ON 
RECEIPT OF REMITTANCE. NONE SHIPPED 
BEFORE FEB. 20, 1949. 



AUCTION 

JELLY ROLL MORTON 

BOOGABOO/SHOE SHINERS DRAG 
BLACK BOTTOM STOMP/THE CHANT 

BUNK JOHNSON 
BIG CHIEF BATTLE Ax/bL BELLS 
shine/yacka HULA HICKY DULA 
S088IN BL # 2/S0METIMES 

MUGGSY SPANIER 
HES I TATIN rl/little davi d 
35^ EACH SALE 



BB 7725 

BB 10253 E+- 

Jl |3 E 

Jl I 5 E 

Jl 16 E 

DE 4271 E 

3 for Si .00 



LARGEST ORDER GETS ITEMS FOR WHICH MORE TH 
AN ONE ORDER RECEIVED. ALL N-E 



CONDON-CMS 500, DE 23431 
goodman-vi 25090 , 2548 1 
b .ea i ley— bl room ph 82,pinet0p ph 84 
hampton— 4 — 5t imes vi 26447 
f. henderson— i 2st rag asch 350l 
Y.LAWSON-SG 28|03,28|08, 15004, |5044 
F-i(sCHNICKELFRI TZ)FISHER-0E 3788 
E.HEYWOOD-OE 23398, 23427,23530 
N.JAFFE-BL AND Bl/zoNKY SG 28l I.I 
L. RUSSELL-EASE ON DOWN BR 80038 
P.PROWN-OCEAN MOTION DE t 8 1 I 8 
P.BA I LEY— THATS GOOD ENOUGH CO 37280 

E.MILLER-MUSCRAT RAMBLE CP 40039 

B.BI GARD TR I 0 SG 28 I I 4 

WH I TEMAN-LADY BE GOOD DE 2223 

E.HALL SEXTETTE CMS 550 

STACY ALL STARS-NONI ASCH3502 
CAPITOL JAZZMEN CP 1 0CC9 

MUGGSY SPAM I ER CMS 586, 587 

J.DORSEY— BLUE DE 3280 

AMMONS — SWA NEE BOOGIE MER 8022 

MANONE/KAY STARR ARA 1 45 

FOLLOWING 5CV EACH 

NOONE-APEX BL VO 1 207 G 

VIOLA MCCOY-TR I FLI N BL GE 5|28 V 

VIRGINIA CREEPERS— LUCKY DAY PA 1*36475 V+- 

V I RG I N I ANS— EARLY MORNING BL VI 18946 G 

WH I TEMAN— FASC I NA T I N RHYTHM VI I 955 I E 

I JONES-SOME SUNNY DAY BR 2274 V 

JC SMITH-YELLOW DOG BL VI 1 86 1 8 E 

LEE MORSE BLUE GRASS BOYS PE 11608 V 
J.MARSALA— SALTY MAMA , GL I "7 1 7 E 

FATS WALLER-V|20l582,20l58l , 2022 1 6, BB 1 0779 
SPECIAL ALBUMS t 2.00 EACH N-E 



CO 



29 
51 
101 
102 
142 
PI 09 
PI 19 
4 



BIX BE I DERBECKE 

DORSEY BROS CO 

COUNT BASIE CO 

B.GOODMAN CO 

BESSIE SMITH CO 

FATS WALLER VI 

STRICTLY FROM DIXIE VI 

MCKINNEYS COTTON PICKERS HJ 
WANTS 

WILL TRADE OR PURCHASE. QUOTE PRICES AND 
CONDIT ION. 

JELLY ROLL- VI 20405,2043 I ,2 |3»5,BB 10256 
J.DUNN-CO 14306,14358 
w . CRAWLEY— V 1 38 1 1 6 , 38136 

E.HENDERSON— VO 1 043 B.YOUNQ VI 23339 

L. MILES VI 38571, A COOK VI 20579 
G.LEWIS- CLIMAX 103,104,105 
SAM MORGAN— CO 1 4267, 14539 



XXXXXXXXXXXXX 



25 



AUCTION 



WINNERS WILL BE NOTIFIED. 
GIVEN PREFERENCE. 



ARNAUD MAGGS 

2040 GREY AVE., MONTREAL 28 

QUEB., CANADA 
25«S PACKING CHARGE ON ORDERS UNDER $ 5.00. 



AUCTION 



LARGE ORDERS 



AUCTION AUCTION 
FRED MANGELSDORFF 

959 N. 14 ST., M ILWAUKEE 
WISCONSIN 



LOU IS ARMSTRONG 

SWING U CA Ts/SNOWBALL BBC 1 0225 E 

I USED TC LOVE/LEAP FROG DEC 4|06e/v 

EVERYTHING BEEn/|N GLOAMING DEC 3825 E 

I wonder/jodie man dec i02i7n 

U LUCKV GUY/JUST A DEC 2934 V 

CHARLIE BARNET 

JUMP SESSIOn/s» ING ST BBC 1 01 72 N 

GOOD FOR N0TH1N JOE/hAUNTED BBC300823V+ 

MIDWEEK FUNCTI0n/| NEVER KNEW BBC 10285 E 

HEART u STO E/ijURDER AT BB I|292n/v 

BL IN NIGHT/lSLE OF PINES BBCII327 V+ 

CONSIDER SELF/LITTLE JOHN BB I I I 65 E 

NEW MOON/GAL FROM JOES BBC|0|53 V 

NO NAME JIVE 1-2 BBCIC737 E 

DUKES IDEA/COUNTS IDEA BBCI0453 E 

STRANGE ENCHANTMENT/CNLY ROSE BBC 1 022" E 

PONCE DE LEON/LITTLE DIP BBCIII94 V+ 

CAPT AND HIS/BIRMINGHAM BREAK BBCII08I E 

AT DIXIE RDSIDE/THATS FOR 8BC|07|7 E 

LEAF IN AT/DARK AVENUE BBCI0774 E 

COMANCHE WAR DANCe/tAPPIN AT BBC 10584 E 

SEVEN 20 IN BOOKS/SO FAR BBC|06|8 N 

SWINGIN NOTHIn/hARLEM SPEAKS BBCII28I E 

THAT REAL ROMANCe/sm ILES DEC18363 E 

U W ERE THERE/MOTHER FUZZY BBC I I 32 I E+ 

U TALK TCO MUCh/mERRY GO ROUND BBCIII53 E 

EBONY RHAPSODY/LAMENT FOR LOST 6BC|034| E 

lumby/phyllysse BBCIlO|4 e 

ROCK IN RHYTHM/REVERIE OF UOAX 3BCI0785 E 

REDSKU; RUM3A/S0UTHERN FRIED BBC 10944 N- 

COUNT BASIE 

eLOW TOP/GONE Wl TH WHAT COC 44 E 

DOWN FOR DOUBLE/MORE THAN U COC 607 E 

KING JOE 1-2 COC 5|6 E 

MAD BOOGIE/PATIENCE AND COC 789 E 

RUSTY CUSTY Bl/alL OF ME COC 705 V+ 

PLA~1 ERBRA I NS/l STRUCK A OK 6508 E 

CHEROKEE 1-2 DEC 2406 E 

JUWPIN WOOOSIDe/dARK DEC 22|2 E 

I OCKL JUMp/jGHNS IDEA DEC 1 363 E 

WILL BRADLEY 

JACK vILL/oONT LET JULIA CO 36372 E 

THREE RING RAGOUT/l SHOULD COC |85v/n 

THREE 6EEs/l THINK OF U COC 52 1 E 

LES BROUN 

EVERYBODY MAKING/HEREAFTER COC 3yd E- 

GOODMAn/b I ZET COC 723 V+ 

LEAP FROG/SHOW ME WAY COC 761 V+ 

YA LU 8LU/F00LE0 COC 574 E 

BENNY CARTER 
Sunday/back bay boog i e 



bbc 1 1 34 1 N 

BBC I I 34 I N 
BBC I I I 97n/v 



sunday/back bay 
what a dif/cuodle up 

BOB CROSBY BONCATS 

long way t 1 peraree/sweethearts deci00i7v/e 

big tom/way down yonder dec 44 3 v+ 

hindustan/mournin bl DEC 2482v/e 

honky tonk/big noise winetka DEC 2208 E 

KING PORTER/SUGAR FOOT DED ^390 N- 

YANCEY SP£CIAL/jAZ2 EAND BALL DEC 1 747 E- 

DUKE ELLINGTON 

I DIONT KNOw/l A I NT COT NOTHIN VIC20|62?N 

WHAT GOOD/CHELSEA BRIDGE VIC27740 E+ 

JACK THE BEar/mORNING GYPSY V I C26536 E 

JUST S ITT IN/MOON CUBA VIC27567 E 

I DONT KNOW/ARE U STICKIN VIC27804 E+ 

GIRL DREAMS/FLAMINGO VIC27326 N 

WONDER OF u/lM JUST LUCKY VIC20I799N 

SLIP OF LIP/SENTIMENTAL LADY V|C20|528N 

KISSIN BUG/MOOD TO BE VIC20|670N 

I GOT IT BAD/CHOCOLATE SHAKE V I C2753 1 N 
PORTRAIT BERT W I LL I AMs/BOJANGLESV I C26£< , < ) N 

MY HEART S I NGs/cA RNEG I E BL VIC20I644 N 

SARATOGA SWING/lTS GLORY BBC|02«5 E+ 

CONGA BRAVa/kOKO HMV 9078 E+ 

LITTLE BROWN BOOk/sOMEONE VIC2G|5S4v+ 

dusk/blue GOOSE VI C26677 E 



COC 


265 


eA 


COC 


71 9 


v+ 


CO 36 755 


N 


COC 


552 


E 


COC 


665 


V+ 


COC 


3l 1 


E 


COC 


257 


E 


COC 


747 


V 


COC 


6",5 


E 


COC 


1 57E/V 


COC 


250 


e 


OK 


6580e/v 


VIC252I5 


N 


VIC2553I 


V+ 


VI C25445 


V 


HMV 


8798 


N- 


HMV 


9499 


N— 



ELLINGTON CONTINUED 

I NEVER FELT/ALL TCO SOON V I C27247 E 
TROUBLED WATERS/MY OLD (R M Ch) VIC2465I V 

DOUBLE CHECK STOMP/jCLLY WOG BRC80035 E 

BL TAN/M"OCHE BRC80CC2 V 

BENNY GOODMAN 
U LUCKY PEOPLE u/AL AYS U 
solo flight/world WAITING 
I CANT GIVE u/FJESTA IN BL 
WINTER WEATHER/EVERYTHING I 
ON SUNNY/ALL I NEED 
LETS DANCE/BOY MEETS HORN 

corn silk/memory OF 

AFTER U ONE/BODY AND 
DEARLY BELOVED/lM OLD 
HENDERSON STOMP/nCBODY 
BIRDS OF a/yCUR DANGEROUS 
lamp memory/when THE 
goodbye/sandman 

CHLOE/lDA SWEET AS 
ALEX RAG BAND/RIFFIN AT 
WRAPPIN 1IT UP/BIG JOHNS 

LIONEL HAN PTON 
AL T I TUDe/ghOST CHANCE 

SHOE SHINERS/MOOD FOR SWING VIC260IIV+- 

3/4 boogie/give SKIN VIC27409 v+ 

COLEMAN hawk ins 

honeysuckle/crazy rhythm vic262i9 e+- 

day is/bouncin with bean bbc 1 0693 e 

sheik ara8y/bl heaven bbci0770 n— 

funny that/meet dr f0o bbci0477 e 

WOODY HERMAN 

GOLDEN WEDDING/FIVE OCL DEC 3436 N 

LET ME LOVE/WHO DAT UP DEC|0|92e/v 

CHIPS BOOGIE/CHIPS BL DEC 3577 E+ 

:arl hines 

up jumped devil/south side bbcii237 e+- 

julia/ccmin in home bbci; '99 e+ 

the earl/somehow bbci, 43? n 

i got it bad/straight to l ve 8bvii374 n 

jersfv counce/sally wont u bbciii26 n 

u dont know/boy with wistful bbcii394 e 

WATEF' LCy/w|NDY CITY J VE BBCII329 E+ 

IM FALLING/jELLY JELLY BBC I 1 C£ 5 N 

SKYLARK/SHELL ALWAYS BB I I 5 I 2 N 

I NEVER/SWING ON C BB I|465n/e 
DEEP FOREST/SLIGHTLY AND POL I TLYBBC 1 0727 V 

FATHER JUMPs/jlTNEY MAN BBCII535 E+ 

U CAN DEPEND/TANTAL I Z I N CUBAN BBC 10792 E- 

TROUBLE/DES I GN FOR J I VE I N APOL 357 N 

JEZEBEL/DOM I Nl C SWING VO 4032 V 

TIPPIN AT TERRACE/SOLID MAN VO 4|43 E 
GOODNIGHT BWEEt/plEASE BE KIND VO 4008 N 

STORMY M0NDAY/2ND BALCONY BBC||567 E 

HAD TO BE u/YELLOW FINE BB I I 308 E 

J IMMY LUNCEFORD 

WHITE HEAT/jAZZNOCRACY BBC 57|3 N 

BACK DOOR STUFF 1-2 DECI0I66 E 

KNOCK ME K I Ss/STR I CKLY INST DECI0053 E 

HIGH SPOOk/ycRDDOD MAZURKA DEC 4032 E 

CHOCOLATF/BATTLE AX DEC 3807 E 

CLAUDE THORNHILL 

LOVERS IN GLASS/maDY IS TWO COC 440 N 

COUNT ME IN/SHELL ALWAYS COC 638e/v 

im thrilled/sing A LOVE COC 522 E+ 

ROCKABYE BAY/lM GETTING COC 687V+- 

JACK TEAGARDEN ( HR CR EDGE ) 

NOBODY KNOWS/H NDRED YEARS 43 I 7 E- 

FATS WALLER 

SWINGIN THEM J I NGLE/l M GONNA V I C20l 620E 

COME GET IT/CHANT BBCII262 E+ 
DARKTOWN STRUTTERs/u CANT GIVE UBBC 10573 N 

24 ROBBERS/DO U HAVE TO GO BBCII222 N 

WINETR WEATHER/CLARINET BBCII469 E 

WHOLL TAKE/ABDULLAH BBC|04|9 E 

YOUR LETTING GRASS/lTS U BBC 10527 E 

SEND ME JACKSON/SQUARE FROM BBC 10730 E 

OH FPENCHY/lTS SIN VIC20|595e/v 



AL JOLSON 

ON ROAD TO CALA IS/(STERLI NG TR) CO 2690 V 

BROKEN DOL l/( A H LEWIS) CO 2|54 V+- 

ROCKA BYE BABy/(stERL I Ng) CO 2560 V+- 
WHO PLAYED POKER POC AHONTAS/( F OK ) CO 2787e/v 

I WONDER WHY SHE KEPT SAYING SI CO 267l E— 

I GAVE HER TH«T/(WHITE HOUSE ) CO 2835 E 

oogie wawa/(hart sisters) CO 3588 E 

YOURE DANGEROUS G I Rl/( PERLESS ) CO 204 I V 

WHERE DID CARUSO GO CO 1 976 V+ 

HERE I AM/RED ROBIN BR 3222 E 

STEPPIN OUT/ONE I LOVE BELONGS BR 2567 E 

SUNNY BOY/RAINBOW ROUND SHOULD OR 4033 V 

BENNY GOODMAN 

HE A I NT GOT RHTYHm/tk I S YRS KISSVI 25505 V 

LOCH LOMOND/CAMEL HOP VI 257|7 N- 

chris columbus/get HAPFY VI 25279 v+ 

RED NICHOLS 



mean dog bl/cornfed BR 3597 V 

BUDDYS HABI TS/8TNEYA RD SHUFFLE VO 15573 V 

LOWLAND BL/BEAT ME DADDY OK 5676 E 
ARTIE SHAW 

IF I HAD u/HAD BE U VI 27536 N- 

LOVE IS HERE/YOUR LUCKY GUY BB 10482 £+ 

TABLE IN CORNER/WITHOUT DREAM BB 10468 E 

SHADOWs/l DONT KNOW WHAT TIME BB 10502 N- 

DR LI V INGSTON/WHEN QUA I L COME VI 27289 E 
HELEN KANE 

THATS MY WEAKNESS/GET OUT VI 21557 E 

I Owe u/dangerous oan vi 22407 v 
1 waNta be loved/is ANYTHING WR0NGVl2l684E 
ELLA FITZGERALD 

BILLY/PLEASE TELL ME TRUTH DE 2769 V+ 

wonderful/i WAS DOIN ALRIGHT DE 1669 V+ 

DONT WORRY BOUT ME/oNCE ENOUGH OE 245 1 E 

GULF COAST Bl/dEEDE DE DUM DE 3324 V 
COUNT BASIE 

JOHNS IDEA/ONE OCK JUMP DE I 363 E 

VOLCANO/ROCK I N THE BL OK 60 1 0 N- 

OOWN DOWN DOWn/u BETCHA LIFE OK 6221 E 

DICK JURGENS (EDDIE HOWARD ) 

careless/i only WANT BUDDY VO 5235 E 

IF I KNEW THEN/LILACS IN RAIN VO 5074 E- 

ITS HUNDRED TO/WHEN I CLIMB DO VO 5063 V+ 

RAGTIME COWBOY/ALL I REMEMBER VO 4-X)| E- 

MY LAST GOODBYe/ruMPLFSTILSKIN VO 4874g/e 

OUKE ELLINGTON 

COTTON CLUB STOMP/ARAB AN LOVER VI 38079 E 

MOOCHE/HOT BOTHERED OK 8623 G 

FATS WALLER 

BLACK MAR Ia/mOON LOW BB 10624 W 

PEGGY ENGL ISH 

GORGEOUS/A I NT THAT GRAND GLORIUSVO |558| E 

JIMMY NOONE 
CALL ME DARL I NG/WALKI N TOWN 



DE 1730 V+ 

CO 35926 N 



TEDDY WILSON (HOLIDAY) 
MEAN TO ME/lLL GET BY 

SOUTHERN SYNCOPATORS 
HAD TO BE u/THATS GA SI 2405 E 

JOHNNY DODDS BLACK BOTTOM STOMPERS 

JOE TURNER BL/WHEN ERASTUS BR 3997 V+ 

CLIFF HAYES LOUISVILLE STOMPERS 
BL harmony/4-5 t imes(mcki nney ) vi 2 1 583 v 
NORFOLK JAZZ QUARTER 

MONDAY MORN Bl/sTANDING CORHNER OK 4 345 V- 
HE HA SHOUT/WHATS MATTER OE 7383 E 

PAUL HOWARSD QUALITY S ERENADERS 

MOONL IGHT Bl/THE RAMBLE 



CAB CALLOWAY 
reefer" man/minnie MOOCHER 

RUDY VALLEE 
ST LOUIS BL/STEIN SONG 

HOKUM BOYS 
ALL WORN OUT/SOMEBODY US IN 

DICK POWELL 



BEAUTIFUL/lS SHE GIRL FRIEND 

SIX HAYSEEDS 



GOTTA GET GIRL/SHES GOT IT 



VI 38068 G+ 
ME 12887 G+ 
VI 22321 E 
PM 12796 V 
VO 15647 E- 
vo 15596 V+- 



26 



AUCTION 



RAY AVERY'S RECORD ROUNDUP 

1630 . LA CIENEGA , LOS ANGELS, CAL I F . 



AUCTION 



BIG BILL 
ROCK 1 .4 Cl;f. |R bL/THAT NUMBER 

BIT BLE BEE SLIM 
GUILT" H'OMAN/WORRYSOME 

LEROY CARR 
PAPA WANTS COOKIE/l A I NT 
TENNESSEE Bl/bROKEN SPOKE 

WALTER DAV IS 
HELLO BABY/l FEELf.'ALR I GHT 

D IX IELAND JUG BLOWERS 
banjoreno/love BL 



CQ 9928 N- 
BB 6559 Vi- 
vo 1 56 1 E- 
VO 1200 E 

BB 8998 N- 

VI 2 1*73 E- 
VI 20770 E- 
VI 2 1 | 26 V+ 

HRS 1877 N 



WHEN I STOPPED RUNNING/|F U 
GARDEN OF JOYS/u BETTER 

EARL HINES 
CHICAGO HIGH LIFE/jUST T»0 

LEAD BELLY 

NYC/u CANT LOSE BB 8750 N 

MIDNOGHT ROUNDERS (AL WYNN) 

SHAKE THAT SHIMMy/5 GR CRACk) VO I 2 I 8g/v 

KING OLIVER 

LONDON BL/CAMP MEETING CO 14003 V 

N.O. stomp/chatanooga CO 13003 V-t- 

MA8ELS DREAM/RIVERSIDE BL CX 40292 E 

KROOKED BL/ALLIGATOR HOP GE 5274 V+ 

SNAKE RAG GE 5 1 84 E- 

CHIMES BL/FROGIMORE GE 5|35 V+ 

D I PFE RMOUTH/wATHERB I RD GE 5|32 E- 

CANAL ST BL/jUST GONE GE 5|33g/v 

MANDY LEE/lM GOIN TO WERA GE 5|34 E 

D I PPERMOUTH /WHERE DID U OK 49l 8 V+ 

JAZZ I N BABIES/(C.WMS) OK 4975v/e 

KISS ME SWEEt/(b&s) OK 8|82 G+ 

CONSTRUCTION GANG/(b&s) OK 8 1 63 V 

JACKASS BL/DEEP HENDERSON VO I0l4 V+ 

DEADMAn/sOMEDAY SWEETHEART VO 1 059 V+ 

BLACK SNAKE/WILLIE WEEPER VO II|2 V+- 

SORBIN BL/FAREWELL BL VO I 1 52 G 

SHOWBOAT SHUFFLE/EVERY TUB VO II|4 V 

SPEAKEASY Bl/aUNT HAGARS BL VO 1 225 V+ 

4-5 TIMES/GOT EVERYTHING BR 4028 E 

FREAKISH LIGHT/GOT THAT THING VI 38521 V 

ST JAMES/WHEN U SMILING VI 22298 V 

GOOD MAN SAM/CAN I TELL U VI 38049 E+ 

CALL OF FREAKS/TRUMPETS BB 7705 E+ 

SHAKE IT/STINGAREE BB 10707 E 

ORIGINAL JAZZ HOUNDS 

jucy long/all : HAD CO 14207 N- 

SPIKESSEVEN PODS OF PEPPER (ORY ) 

CREOLE TRAM/SOCIETY (CR TO » Gr)n0 3009 V- 

T I NY PARHAM 

TINYS STOMP/STOMPI N ON DOWN VI 38060 N 

BLUE ISLAND/SUBWAY SOBS VI 3e04l E 

BL MELODY/THAT KIND LOVE VI 38047 N- 

JUNGLE CRAWL/BLACK CAT BB 5|46 E 

PIRONS N.O. ORCH 
LA SW I NG/STRUTTI N ON CURB 

MARAJJCY 
MYSTERY RECORD/HONEY WHERE 
MEMPHIS BOUND/ROUGH TUMBLE 
MOONSHINE BL/BO WEAVEIL 
BARRELHOUSE Bl/waLKIN BL 

bo weavil/last minute 
moonshine bl/southern bl 
farwell daddy/shave em dry 
toad frog/booze bl 

SPECKLED RED 
DO TME GA/ST LOUIS STOMP 

SID RE I NHARZ (PIANO SOLO) 
BOSTON SHOUT/MAHJONG 

KID RENA 
ALL 4 DELTAS 

BESSIE SMITH 



OK 


40189 


V 


PM 


12200 


G — 


PM 


1 23 1 1 


v+ 


BM 


12603 


V- 


PM 


12082 


B 


PM 


I2C8C 


G+- 


PM 


12083 


G- 


PM 


12222 


S- 


PM 


12242 


y+ 


B 3 


^985 


u 



GE 5330 v+ 



NASHV I LLE WOMAN/AINT GONNA(lm) CO 14090 V- 

TR IX IE SMITH 
WORLD JAZZ CRAZY/RR BL J I 7 

SPRING BACK JAMES 



HELLISH WAYS/HARD DRIVIN MAMA VO 3625 N- 



MONTANA TAYL fl/ROMEO NELSON 
DETROIT ROCKS/HEAD RAG HOP HRS2262I E+- 

M ILLARD G. THOMAS 
RECKLESS BL/lVORIES A J 17074 F 

SUGAR UNDERWOOD 
DEW DROP ALLEY/DAVIS ST VI 2 1 538 E 

FATS WALLER 
HANDFUL KEYS/NUMB FUMBLIN 

WASHBOARD RHYTHM KINGS 
HOT NUTS/JOHNSONS CRACKER 

WASHBOARD SAM 



V I 38508 N 



BB 6278 E- 



PROWLIN GROUNDHOG/DONT TEAR ME 61055 E- 

CQUE ON SACk/jUSTVTO PROVE BB 8699 V- 

BARBECUE/MY WCMANS A SENDER BB 7552 E- 

OH BABE/Ll'UISE BB 8469 E- 

ARNOLD W I LEY 

WINDY CITY/WILEY RAG BR 7| I 3 V- 
C. WILLIAMS (PIANO SOLO) 



WEARY BL^/UXIN THE BL 

J INMY YANCEY 
5 OCK 8L/TELL ME ABOUT EM 
MELLOW BL/SLOW EASY 
BEAR TRAP BL/OLD QUAKER 
I2INCH RECORDS 
JOHN BARRYmQRE~ 
HAMLETS SOLILOQUY/HENRY VI 
BEN BERN IE 



OK 4893 G+- 



VI 


26590 


£*■ 


VI 


26591 


N- 


VO 


5490 


N — 



VI 6827 E 



OLD MAN RIVER/SOLILOQUY BR 20064 N- 

GUY LOMBARDO 
BETWEEN DEVIL DEEP BL SEA BR 20|04 E+- 

GLENN MILLER /STUDIO BAND 
HAPFENED SUN VALLEY 20TH CENT FOX TRANS N 

POPE PIUS XI 

BR 50165 N 



MESSAGE OF PEACE TO WORLD 
RUDY VALLEE 



VI 36204 n- 



VI 27737 E 



ALL POINTS WEST 1-2 

10 INCHR ECORDS 

ABBOTT & COSTELLO 
LAUGH LAUGH LAUGH 1-2 

HENRY AINLEY 
HAMLET ACT 4 SC 4/aCT 3 SC 3 VI 4249 E 

COUNT BASIE 
MAD BOOGI E/RAMBO PAE 30|2 N 

STAY COOL/LAZY LADY BL PAE 3009 N 

CLYTON, JACKSON, DURANTE 

SO I UPS TO'Im/cAN BROADWAY DO CO i860 E 

RUSS COLUMBO 

VI 22867 N 
BB IC859 N 



PRISONER LOVE/BL OF NIGHT 
ALL OF ME/jUST FRIENDS 

NOEL COWARD 
DEAREST LOVE/lLL SEE U AGAIN 

DIXIE LEE CROSBY 
GOT ME DO IN THINGs/uy HEART 
UNTIL REAL THING COMES ALONG 

BENNY GOODMAN 



HMV 8740 N 



DE 4|4 V-t- 

DE 892 V 



HONEYSUCKLE ROSE/LIZA COE 2287 N- 

UUST U JUST ME/MY GUY PAE 3000 N 

HAL LASKA/MARK KRANE 
ROMANCe/haRMONI CA HARRY PA 3^034 N 

GILBERT MARSH/HAL LASKA (CASA LOMA) 
NAVY BL (mOLE)/s*EEPING PA 34038 E+ 

PINKY TOMLIN 
LOVE K I SSES/SI TT I N ON EDGE BR 7897 N 

FATS WALLER & ADA BROWN/MAY JOHNSON 
THAT A INT RIGHT/SALT LAKE 20TH CENT FOX N- 

RAY NOBLE 

U WERE THERE/FAMILY ALBUM VI 25437 E 

FAIR WARMER/STRING ALONG HMV 6503 E 

ROLL UP CARPET/OTHER SIDE HMV 6380 E 

TOWNS TOO QUIET/HATS HMV 642l E1- 

KASHMIRE S0NG/8L DANUBE HMV 6267 E 

SOMETHING IN AIr/lAZY RIVER HMV 5 1 53 E 

LA 01 DA Dl DA/WHEN HMV 6432 N- 

MEMORIES OF HORATIO NICHOLS 1-2 HMV 8280 N— 
EMPTY BADDLES/BIG CHIEF VI 25346 E 

SOON/DOWN BY RIVER VI 24879 E+- 

SEND WANT LISTS. I CARRY ALL TYPES RECORDS. 



AUCTION Sale 

THE RECORD SHACK 

II80C WILSHIRE BLVD., LOS ANGELES 25. 
AUCTION AND SALE 50^ MINIMUM BID. ALL VI ARE 
PREWAR GOLD LABELS. CONDITION SHOWN IN ORDER 
GIVEN IN INDEX TO JAZZ FOR A i B SIOES. AUC 
UNLESS STATED. BIDS CLOSE I 8TH OF FEBRUARY. 



BENNY GOODMAN 

COLUMBIA ( 1931-34) 
2542 v/v, 2845 v/e, 2856 v/e, 29|4 v/v, 2923 v/e 
(l" LAM crack), 2947 e/e,«30|6 e/e. 

BRUNSWICK ( I 933 ) 
7645 v7v 

VICTOR 

25009 v/g (rim CHIP NOT IN music), 25245 e/e, 
25247 v/v, 25258 v/v, 25258 n/n, 25340 e/n, 
25355 g/g, 25461 e/e, 25468 v/g, 25486 e/e, 
25316 v/v, 25279 v/e, 25442 v/e/ 25021 e/v, 
25391 e/e, 25445 v/e, 25492 g/b, 25500 e/e, 
25505 v/g, 2551 0 n/n, 25621 e/e, 25634 n/n, 
25683 e/e, 25720 v/g, 25727 v/g, 25808 v/e, 
25814 e/e, 25827 e/e, 25840 g/g, 25846 v/v, 
25867 g/f, 25878 g/g, 26000 g/g, 26000 e/g, 
26021 v/v, 26060 e/n, 26082 g/g, 26087 v/g, 
2609S E/E, 26i07 g/v, 26 11 0 v/g, 26|30 e/n, 
26 1 34 e/e, 26159 g/g, 26175 g/f, 26l 37 e/e, 
2621 I v/e, 257i | e/e, 26088 g/e. 

COLUMBIA (|939-43) 
35201 n/n, 252 i 0 n/n, 35211 e/e, 35301 e/e, 
35319 n/n, 35331 e/g, 35356 e/n, 35362 n/n, 
35396 g/g, 35410 n/n, 35487 f/g, 35820 n/n, 
35863 g/e, 35869 e/e, 35962 n/n, 36022 n/n, 
36109 n/n, 36136 e/e, 36l80 n/n, 36209 e/v, 
362|9 n/n, 36254 n/n, 36284 n/n, 36305 e/e, 
36359 g/f, 36379 e/e, 3641 I n/n, 36429 n/n, 
36580 n/n, 36622 e/e, 36652 e/e, 36680 e/g, 
36699 n/n, 35472 e/e. 

OK EH 

6474 e/e, 6497 e/g, 65|6 g/f, 6534 v/v, 6544 
v/v, 6580 e/n, 6562 s/v, 6606 e/e, 

BLUE BIRD 
10973 v/v, 10851 e/e, 10973 e/e, 

BENNY GOODMAN TRIO 
VI 25711 e/e, VI 25725 n/n, VI 25324 g/g, 
BB 11456 v/v, BB 10723 v/v, VI 25711 v/v, 
BB 11456 v/v, CO 36781 v/g, v| 25333 v/v, 

B.G. QUARTET 
VI 25521 E/E, CO 36684 v/v, 

B.G. QUINTET 
CO 36767 G/G, VI 26166 e/v 

B.G. SEXTET 
CO 35482 e/e, CO 35404 e/e, CO 36723 n/n, 
CO 36099 n/n, CO 36755 e/e, CO 35S|0 n/n 
CO 366 1 7 n/n. 

GOODMANS ON FOREIGN LABELS (SALE) 

SEXTET (PAE) 
ON. ALA MO /GONE WITH WHAT DRAFT 1.75 
THE SHE K/POOR BUTTERFLY e/e I .75 

QUARTET (HMV) 
avalon/man i love e/e 1.50 
BL IN MY FLAT/YOUR FLAT n/n 1.95 
SWONDERFUL/MUST HAVE THAT n/n 1.95 
sugar/opus 3/4 n/n I .95 

I KNOW U KNOW/CRIED FOR U n/n 1.95 
OPUS ^/SWEET GA BROWN n/n I .95 

ORCHESTRA 

YOURS/TAKE IT PAE G .95 

HOUR PARTI NG/COCOANUT GROVE PAE V .95 

WHEN BUDDHA SMILEs/BASIN ST BL HMV N 1.95 
DOWN HOME RAG/MUSIC HALL RAG PAE N 1.95 
NITWIT SERENADE/BUGLE CALL RAG COE E 1.95 
ONE SWEET LETTER/SCATTERBRA IN PAE N 1.95 



RECORDS WHICH FEATURE 
BENNY GOODMAN 
WILL BE 
AUCTIONED 
NEXT 
MONTH 



27 



SALE SALE 
JAZZ RECORD CORNER 

782 6th ave., (48 ST) NYC 
PHONE PLAZA 7-7426. ON MAIL ORDERS 
ACCOMPANIED BY CHECK OR MO TOTALING 
$3 OR MORE HE WILL PREPAY THE SHIPP 
ING CHARGES. WE ALSO SHIP COD. FAST 
SAFE INSURED. SHOULD ANY DISC BE OUT 
OF STOCK A CHECK IS SENT FOR THE UN 
USED PORTION OF YOUR ORDER. HOWEVER 
WE FILL ALMOST EVERY ORDER COMPLETE. 



NEW RELEASES 
GRAEME BELL AUSTRALIAN JAZZ BAND ( I. 05) 
SOUTH/sHIMME SHA WA3BLE jc I 

YAMA YAMA Bl/bIG CHIEF BATTLE AXJC 2 
USUAL DISCOUNT TO DEALERS ON JC RECORDS 

JELLY ROLL MORTON TRIO (DODDS) 
MR JELLY LORD/wOL'.ERI flE BL (|.05)TJM I 

KING OLiVER (Si .05) 
Dl PPERMOUTh/whERE IS U STAY HJCA 26 

LONDON CAFE/CAMP MEETING HJCA I 8 

LOUIS ARMSTRONG ( H J— I .05,00— .79) 
ORSPP'N SHUCKS/wHOS I T HJCA 20 

GA GRINO/COME BACK SWEET PAPA HJCA 2 1 
KING OF ZULUs/l'NESOME BL HJCA 22 

PUT EM DOWN Bl/sAVOY BL CO 37537 

IM NOT ROUGH/GOT NO BL CO 37536 

POODS CHICAGO FOOTWARMERS ( I .05 
BALLIN THE JACk/ GRA NOMA BALL HJCA 24 

BROWN BOTTOM BESS/LADY LOVE HJCA 25 

MY GAL/SWEEP EM CLEAN HJCA I 9 

BOB WILBER WILDCATS ( I .05 
CAMP MEETING Bl/0NCE IN WHILE RAMP 8 
WHEN U WORE TULI P/TROUBLE IN MINORAMP 6 
OH DADDY/FROG I MORE RAMP 7 

SIDNEY BECHET (WILBER#) (.79) 
LOVE FOR SALE/SHAKE EM UP CO 3832l 

SPREAD IN JOY/l HAC I T / CO 38320 

POLKA DOT STOMP/KC MAN BL# CO 383 |9 

LAURA/jUST ONE THOSE THINGS CO 383|8 

LU WATTERS (l.05) 
WEARY BL/PASTIME RAG 5 WC I 1 8 

SUNSET CAFE/ORY CREOLE WC I|9 

".ONE OF MY JELLY/TR I ANGLE JAZZ WC |20 

HOT JAZZ CLUB OF AMERICA RECORDS 
I I .05 EACH. 
I.OLIVER-ROOM RENT/AINT GONNA TELL 
2.0LI VER-MABELS DREAM/SWEET BABY DOLL 

3. LOUIS HOT 4-IRISH BLACk/u MADE ME LOVE 

4. MOTON-L0ND0N Bl/sOMEDAY SWEETHEART 

5. LOUIS 5-JAZZ LIPS/CAKE WALK I N BABIES 
6.0L I VER-JAZZI N BAB I ES/TUXEDO RAG 

7.oliver-riversioe/workingman 3L 

8. OL I VER— SOBB I N Bl/sWEET LOVIN MAN 

9. LOU IS 5-BIG FAT WA/sWfeEY L I TILE PA 

IC.'ONNA G I TCHA/FORGET TO MESS AROUND 

I I .MOPTON— B I LLY GOAT/HYENA ST 

I 2— OOODS— SWEET LCRRA I NE/PENC I L PAPA 

I 3. DUMA I NS-F.RANKL I N ST/RED ONION DRAG 

I 4. DUMA I NE-PRETTY AUDREy/tOWBACAWA 

I 5 .MORTO N— O I X I E HOME/LIKE IT OUGHTA BE 

I 8. LOU I S-COAL CART/TEXAS MOANER 

REX STEWART 
JUST IN FROM SWEDEN ON CUPOL (UNIS USA ) 
BASIN ST BL/RUN TO THE CORNER 4074 1.05 
30Y MEETS HORN/WAITIN FOR TRAIN404| 1.05 

JOHNNY H00GE5 
PYRAMID/EMPTY BALLROOM BL PAE 3 1 1 5 1.05 



FOR EVERYTHING IN JAZZ 
VISIT 
THE CORNER 

COLLECTORS PLEASE NOTE 
WE HAVE NO CONNECTION WITH ANY OTHER 
STORE. IT IS ONLY AT THE "CORNER" 
WHERE YOU WILL FIND ONLY JAZZ DISCS. 
WE DON'T HAVE A SINGLE POP RECORD IN T HE- 
SHOP 



AUCTION AUCTION 
DON & POLLY GUNNISON 

637 TERRAOE BLVD. ORLANDO, FLORIDA 
NO MINIMUM BIDS BUT REDICULOUS BIDS WASTE 
YOUR POSTACARDS. PACKING CHARGE 25^ UNDER 
S 3.00. WE PAY POSTAGE SHIPMENTS OVER $ 7 
PARCEL POST COD, WELL PACKED AND INSURED. 
GRADING GUARANTEED. 



NOTICE TO ALL COLLECTORS 
MAIL PENNY POSTCARD NOW FOR OUR NEXT GENER 
AL AUCTION LIST # I 7. OVER 700 RECORDS : 
MANY PERY SCARCE AND SELDOM IF EVER AVTSD. 

DUKE ELLINGTON 

CO 35^76n/e 
BB 6565v/e 
CO I =168 V 
V| 22603 v+ 
V I 2486 I N 
BB 7 1 82 E 
BB 6305 N- 
BB 10245 N 
CO 35834 N 



JUBILEE STCMP/COUNTRY GAL 
SARATOGA SWINg/mISTY MORNING 
ST N IGHT/BEGGARS BL (GREER) 
BLUE AGAIN/(BERT LOWN ORCh) 

bl tan/creole(octagon label) 
t'ust have man/bandanna babies 
diga do/keep song soul 
saratoga swing/lts glory 
lazy rhaps0dy/3l ramble 

drop me off harlem/sli ppery hornbr 6527 n- 

EChos HARLEm/(t.'.v I SON orch) CO 36283v/n 

TOOT I N THROUGH ROOF/GRIEVIN CO 353|On/v 

KILLIN MYSELF/LOVE FADED CO 35640 E— 

ROCK IN RHYTHM/M PAPA ND VI 263|0e/n 

SHALL BE NO NITe/5 OCL WISTLE VI 26748n/v 

RUMPUS RICHMOND/lN MELLOTONE VI 26788 N 

FLAMING SWORD/WARM VALLEY VI 26796e/n 

flamingo/girl IN DREAMS VI 27326 N- 

CHOCOLATE SHAKE/GOT IT BAD VI 2753IE/N 

ROCKS IN BED/BLI BLIP VI 27639 V- 

5 OCL DRAG/CLEMENTINE VI 27700E/N 

DONT KNOW BL/ARE U STICK IN VI 27804e/n 

C JAM BL/MOON MIST VI 27856e/n 

PERD I Do/RA I N CHECK 27800 VI E- 

SHERMAN SHUFFLE/HAYFOOT STRAWF00V-I 1 505 V+- 

CHLOE/DO NOTHIN TIL U HEAR FROM VI |547e/g 

MAIN STEM/jOHNNY COME LATELY VI 1 556 E- 

SOMEONE/LI TTLE BROWN 300K VI 1584 N 

I DONT MINO/WHAT AM I HERE FOR VI 1 598 N 

CARNEGIE BL/MY HEART SINGS VI 1 644 N 
BENNY GOODMAN 

VI 



VI 



KING POR TER/SOMET IMES IM HAPPY 
WALK JENNY WALK/ALWAYS 
MOONGLOW/OI NAH (QUAR) 
STOMPIN SAVOY/VIBE BL 
WHERE OR WHEN/CRIED FOR U 
LET SONG OUT HEART/FEELIN HIGH 
BL INTERLUDE/WHEN I GO DREAMING VI 26021 V+- 
FAREWELL BL/MARGIE BB IC973 N 

SENT FOR U YESTERDAY/ANGELS SINGVI 26|70e/v 
SHOW YOUR LINEN/LADY IN LOVE VI 262 II E- 

JUMPIN WOODSIDE/CHANGES MADE CO 352|0 E- 

CANT U TELL/ONCE MORE 
LAZY RIVER/OH LOOK ME NOW 
NOT COMPLA I N IN/SI STER AND I 



25090 N 
10799 N 
25398 N 
VI 2552 1 v/n 
BB I 1 456 N 
vi 25840 v+ 



CO 35543v/e 
CO 3601 2v/n 
CO 36022 N 



FOUND NEW BABY/BREAKFAST (6TET) CO 36039 N 

yours/take IT CO 36067 N- 

GOOD ENOUGH KEEP/SMOOTH 0NE<6) CO 36099 N- 

FOUND MILLION 3 BABY/GOOD EVEN 1 CO 36|36 N- 

SCARECROW/TIME ON HANDS CO 36 I 80g/e' 

DOWN DOWN/SOFT AS SPRING CO 362|9n/v 

anything/from ONE LOVE TO CO 36305 N 

BIRTH 3LUES/ELMERS TUNE CO 36359v/n 

C PRICE PAGANINl/lM HERE CO 364||n/e 

WANG WANG/*AY U LOOK (SEXTET; CO ?6594e/n 

MISSION MOSCOw/ALWA Y3 U CO 36530G/N 

CLAfi I NDE/jUNC BUST IN OUT CO 36823 N 

MY LITTLE COUSIN/ZOOT SUIT OK 6606 V+ 

THE EARL/LETS DO I T OK 6474n/v 

CLAR ALA KING/HOW LONG GOING OK 6544n/e 

MOAN I N LOw(mMm)/mAJEST] C PE 15208 V+- 

REPEAL BL/EASY COME GO(GREEn) BR 6355 N 

MAIL CARD NOW FOR GENERAL AUCTION LIST 



WANTE D 

FRANK GOLDMAN 

594 EAST 40TH ST. 

BROOKLYN 3, N.Y.C. 
MINIMUM CONDITION ACCEPTED EXCELLENT. 
PLEASE WRITE STATING PRICE WANTED. 



213-45 
10255 
20405 
2 1 054 
38075 
20431 



I 2376 
3574 
3585 
33004 
21552 



VI 23650 



JELLY ROLL MORTON 

JUNGLE BLUES VI 

WILDMAN BLUES BB 
SOMEDAY SWEETHEART/OR I G JELLY ROLL VI 

WOLVERINE BL/MR JELLY LORD VI 

BURNING THE I CEBERg/taNKTOWN VI 

canmonball/grandpa SPE^lS VI 
MANY OTHERS VICTOR AND GENNETT 

DODDS 

ADAMS APPLe/mESSIN PM 

san/wobble BR 

NEW T LOUIS BL/OH L I ZI I Z BR 

bucktown stomp/weary VI 

BL WASHBOARD ST/3ULL FIDOLZ VI 
MANY OTHERS LISTED IN HOT D I SCOGRAPHY 
BECHET 

sweetie dear/map_e leaf 
OL I VER 

CANAL ST/jUST GONE GE 5|33 

VIANDY LEe/|M GOING GE 5)34 

o I ppermouth/wea THERB I RO GE 5|32 

CHIMES BL/FROGGIE GE 5 1 35 

SNAKE RAG GE 5 1 84 

J I P?"RMOUTH/wHERE DID OK 49l 3 

SNAKE RAG/HIGH SOCIETY OK 4933 

JAZZ IN BA3IES OK 4975 

TEARS/SUODYS HABITS OK 40000 

CHATAMOOGA S TOM p/n.O. STOMP CO 13003 

ZULUS BALL/WORKING MAN GE 5275 
USr OTHERS ON VARIOUS LABELS 
NORK 

tiger/panama GE 4968 

BUGLE CALL/DISCONTENT GE 4967 

WEARY BL/wOLVERINE BL GE 5 1 02 

MAPLE LEAF/SWEET LOVIN GE 5l04 
ARMSTRONG 

HOTTER THAN THAt/sAv/OY BL OK 8535 

GULLY LOw/wiLOMAN OK 8474 

WILLIE WEEPEr/AlL I GA TOR OK 8482 

HALFWAY HOU SE ORCH 

BA RATAH I A/PUSSY CAT RAG OK 403 I 3 

BFSSIE SM ITH 

YELLOW DOG BL /CAKEWALK I N CO 14075 

HOT TIME/ALEX RAG TIME CO I 42! I 3 

CLARENCE WILLIAMS 

LIVIN HIGH/jUST WAIT OK 8272 

N.O.HOP SCOP OK 4966 

KANSAS. CITY MAN/WILDCAT OK 4925 

OF ALL WRONGS/EVERYBODY OK S 1 8 1 

THESE LISTINGS ARE AN INDICATION OF MY GEN- 
ERAL WANTS. ALL ARE IN THE NEW ORLEANS AND 
DIXIELAND VEIN. PLEASE SEE MY AD IN THE 
DECEMBER CHANGER FOR FURTHER LSBTIN3S. 
THESE RECORDS ARE REPLACEMENTS OF ITEMS I 
HADBEFORE THE WAR BUT WAS FORCED TO DISPOSE 
OF DURING THE WAR AND OF MANY THAT ARE TOO 
BEAT TO ENJOY ANY MORE. THE RECORDS I WILL 
RECEIVE THROUGH THESE ADS W I Ll STAY WITH 
ME AND WILL NOT BE SOLD OR TRADED. THIS IS 
NOT A MONEY MAKING DEAL. I ASK FOR RECORDS 
THAT ARE PALYABL" AND CLEAN BECAUSE THEY 
ARE FOR PERSONAL USE ONLY. EXCELLENT COND- 
ITION IS A MUST. TO THOSE COLLECTORS WHO 
FIND IT DIFFICULT TO BUY THE COUNTLESS RE- 
ISSUES AND NEW ITEMS 1 REMIND THEM THAT I 
WILL TRADE ANY AVAILABLE RECORDS FOR THE 
ITEMS I WANT. IF YOU HAVE AN ITEM FOR ME 
LET ME KNOW HOW MANY RECORDS YOU WANT AND 
THUS RECEIVE VALUE TO YOU OFTEN HIGHER 
THAN THE PRICE YOU WOULD ASK IN CASH. 



28 



FOR DISPOSITION 



First four letters of collector 
ifor address, see page 6. 



PR I CE 
TRACE ; 



IF FOR SALE 
MINIMUM 6 1 



VALUE IF FOR 
IF FOP AUCTI 



METHOD OF DISPOSITION; SAL . 
FOR" SALE AT PRICE INDICATED,; 
' T RA " , FOR TRADE; "flUC", AT 
AUCT ION.CLCS ING DATE FOR BIDS. 
SEE PAGE 6. ' T -A " FOR TRAOE 
OR AUCTION; "T-S" FOR TRADE 
OR SALE; "STA" FOR SALE, TRADE 
OR AUC T I ON. 



condition of recopd: n— new 
E-excellent; v-very good; 
good; F-fair; P-pqor. 



3 
2 

1 |label of record." 



■Catalog number of record. 




ALL STAR TRIO 
1 AIAJT N030DYS/HACKEL SERGE 

AMBROSE ORCH 
LA CUCARACHa/thE CONT I NENTAL 

AMOS AND ANDY 
IS EVERYBODY DUMB AS U IS 1-2 
PRES. ELECTION (|928) 1-2 

ANDREWS S ISTERS 
SING TROPICAL SONgAhrLL BE 

LOU IS ARMSTRONG 



3^3 E+SAL I .50 HOLB 



VI 22 1 I 9 

VI 2 1 608 



TERR 
TERR 



DE I 8591 G SAL .50 TERR 



1653 



SAL I ■ 



15 

1692 E+SAL 1 . 1 5 
I 3 1 3 E+SA L 1 . 1 5 



21334 G SAL 



TRUMPET PLAYERS LAMENT 
WALKING STICK/SONG If ENDED 
SHADRACK/jOMAH 

S1RUTTIN BAFBECUE/luNESOME RD AUPA7625 N AUC 
HOTTER THAN TIIAt/tHATS WHEN AUPA755I N AUC 
MAHOGANY HALL ST/bl BORN N.C. HMV 3559 N AUC 
TIGHT LIKE THIS/HEAH ME TALK I IJAUC03 I I 9 N AUC 
SN0W8 ALL/SWING U CATS BB 10225 N AUC 

ORY CREOLE TROMBONE/LAST TIME CO 37534 E AUC 
EVERY LCVES 8ABY/WR0NGS OK C 8| 6| E SAL 

BASIN ST/NO OK 4|2-U E SAL 

ST JAWES/rUFF SCUFFLIN BP 4684 E SAL 

SOMEDAY SWEETHEART/SON OF S0UTHVI24257 E SAL 

FRELD 4 ADELE ASTAIPE 
COMPLETE COLLECTION OF ALL RECORDS 
SINCE I923-S0ME l|TH PIANO ACC BY 
GEORGE GERSHWIN. UNISSUED IN USA 
EXTREMELY RARE • WRITE FOR DETAILS AUC 

GENE AUSTIN 
RAMONA/GIRL OF DREAMS 

MILDRED BAILEY 
BEE GESIIIDt/aFTER ALL 
TENN FISH FRY/HOW CAN I 
LOVER COME BACK TO ME 
SMALL FRy/bh N TO SWING 

CHRLIE BARNET 
REDSKIN RUMBA/SOUTHERN FRIED 
THIS SI NO DREAM/THATS RIGHT 

COUNT BASIE 
BOO HOO/gLORY OF LOVE 
TIJES. AT |0/UNDECIDED BL 
DIGGIN DEx/H 4 J 
DOWN FOR DOUBLE/MORE THAN U 
MOTEN SWI NG/LOU I SI ANA 
920 SPEC I AL/bASIE BOOGIE 

comin ojt party/harvard 8L 

RED BANK BOOGIE/l DIONT KNOW 
ROBINS NEST 

NORA BAYES 
PROHIBITION BL/TAXATION BL 
JERRY/lN MIAMI 

SIDNEY BECHFT 
NEW ORLEANS FEETWARMERS SET 
COMPLETE BRAND NEW |5 DISCS 
FREE BRAND NEW I6TH 3ECHET 
BL IN 1 IR/MOOCHE 
LAUGH IN RHYTHM/RIP UP 
LADY BE GOOD/ROSE ROOM 
SLEEPY TIME DOWN SOUTH/STOUPY J0NEHMV9329NSALI .65 

GRAEME BELL 

ALL THE GREAT FRENCH PACIFIC RELEASES N SAL 

BENSON ORCH CH ICAGO 
WOLVERINE BL (l* HR CR) VI |9|40 E+SAL .35 

BUNHY BERIGAN 

MOONSHINE OVER Ky/| GOT A GUY VI 25833 N AUC 

I WANT NEW RCMANCE/lO LOVE TO VI 25688 N AUC 

LADY FROM 5TH AVE./aLL GODS CHIVI25609 E AUC 

NEVER FELT BETTER /ROUND THE 0LDVI25858 E AUC 

WHEN PRINCE/Y OOESNT SOMEBODY VI 26055 E AUC 

PIED PIPERS/lO EASY LESSONS VI 25881 E AUC 

TIS AUTUMN/2 IN LOVE EL 5005 N SAL 1. 1 5 

LET ER HO/RED HOT HEAT VI 25646e/vSAL I.|5 

EBB TIDE/MEET FRIEND VI 25664 N SAL 1.40 

JELLY ROLL BL/DEED I DO VI 26 1 1 3 E+SAL 1.65 



ZEIG 
ZEIG 
ZE I G 
MA PC 
MARC 
MARC 
MARC 
MARC 
SHAY 
MERK 
MERK 
MERK 
MERK 



HMV N SAL 8 25 

GRF WITH ABOVE SET 

V|20|5|0 E+ALC 

VI 27663 N AUC 

VI 27707 N AUC 



COHE 
COHE 
MAGG 
MAGG 
PIKE 
ARG 



MOUL 
MOUL 

MOUL 
MOUL 
MOUL 
MOUL 
ZEIG 
ZEIG 
ZEj G 
ZEIG 



BR 4806 - AUC 

CMS 5i6v/eauc 

CO 37571 E AUC 



BEII 8ERNIE 
IM YOUPS/ONL SONG 

C U BERRY 
S ITT IN In/46 W 52 
CHUBERRY JAy/MAELSTROM 
b K-. B ILL 

WOKE UP NOW/BAD ACT IN WOMAN OK 6724 N flu c 
DO 3LC TROUBLF./ALL BY MYSELF OK 6427 E AUC 
SHINE ON SHINE On/whEN I BEEN OK 6303 E+AUC 
BABY 1 DONE GOT WISE/jUST A 0REAMOS4706E AUC 
CONE WITH WINO/u SPEND MY MO OK 6630 E AUC 
NEVER CREAM AGAIn/thaT NUMBER OK 6080 E AUC 

-:ARIiEY BIGARD 
C BLUES/BROWN SUEDE B8CII58I V+AUf. 

CHARLIE CHULO/LULL HMV 9| 65 E+AUC 

ESTKER BIGEOU 
MEMPHIS BL/ST LOUIS BL 

BLUE NOTE RECORDS 



MARC 
MARC 

MARC 
MARC 

MARC 
MARC 
MARC 

■ M ARC 

■ MAGG 

■ MAGG 



NEW I 2 n — SEND FOR LIST 

BOONES JUMPING JACKS 

IM FOP IT/TAKE ME BACK 
IRENE BO.TDONI 

SO TH IS IS LOVE 

BROADWr BELLHOPS 



OK 8026 E AUC PHIL 

3N N SAL l.lO KEND 

DE 8590 V AUC MAGG 



WHERE COT COT C0TT0n/(lIKE BI«)OI 2536 V T-A 



HERE COMES FAT IMA (SM R« CH ) HA 
WHERE COT COT COTTON HA 

WILLIE BRYANT ORCH 
I LIKE BANANAs/lM GREATFUL BB 

TIM BRYMN BLACK DEVIL ORCH 
ARKANSAS BL/lTS RIGHT HERE 

CAB CALLOWAY 
WHEN YOUR SM I L I n/aRE U 



279 E SAL 
536 N-SAL 



MILL 

GOLD 

.75 HOLB 
.75 HOLB 



6436 N AUC PHIL 

OK 8002 N SAL I. 50- HOLB 



EBONY SILHOUETTE/HEP CAT 

margie/emali NF 

OGEECHEE RIVER/l GOT NECK 
KEY NOW/GOT GAL NAMES NETTY 

HOAGY CARMICHAEL 
SWING IT LOW/THANKSGIVING 

CATS AKD F I DOLE 
MISTER RHYTHM MAN/GONE 



BR 7685 N SAL 
OK 6I92N/ESAL 
VI 24659V/NSAL 
COL 693 V+AUC 
CO 37081 E AUC 



I .40 ZEIG 
1.15 ZEIG 
I . I 5 ZE I G 

MAGG 

SHAY 



CELEST INS ORIGINAL TUXEDO JAZZ ORCH 
MY JOSEPH I NE /s TAT I ON CALLS CO 636 V- 

MAURICE CHEVALIER 



HMV 8658 N SAL 2.00 ARG 
BB 8465 N SAL I • |5 ZEIG 
I .50 HOLB 



Ml LL 



REGGIE CHI LPS 
GCOONITE ANGEL NEW MOON OVER DE |763 N AUC 
L ILL IE CELK CHRISTIAN ( LOU I S— NOONE ) 



CO 


35409 N SAL 


1.15 


ZEIG 


CO 


35532 N sal 


1.15 


ZE IG 


DE 


3953E/NSAL 


1 .40 


ZEIG 


VO 


4224N/ESAL 


1.15 


ZEIG 


BB 


10944 N SAL 


1 .00 


PIKE 


lib 


i0273g/vauc 


.25 


TERR 


DE 


1228 N AUC 




COST 


OK 


6071 E SAL 


1 .53 


COOW 


OK 


6365 E SAL 


1 .53 


COOW 


OK 


6584e/nsal 


1 .53 


COOW 


PAE 


2768 N SAL 


1 .00 


C 00* 


pa : 


2636 N SAL 


1 -CO 


COOW 


PA F 


2847 N SAL 


1 .00 


COOW 


CO 


36766 N SAL 


.53 


COOW 


VI 202677 N AUC 


$20 


TOML 


CO 


2823 G auc 




ALCO 


CO 


2785 G AUC 




ALCO 



8650E AUC 5.00 PARR 



COST 
MAGG 



SWEETHEARTS PARADE/i CANT G i VF OK 

K i IMG COLE TRIO 
BABY ALL TIMe/lITTLE GIRL CP |5i65n/vAUC 

THAT A I NT RICHT/HIT THAT JIVE DEC|0|36 E AUC 

COLLINS AND HARLAN 
WHO 00 U LOVE NASSAU 25473 E+SAL 

ALEXANDERS RAGTIME BANO ( EARLY ) V I 16908 N-SAL 

EDDIE CONDONS FOOTW ARMERS 
MAKIN FRIENDS 

ZEZ CONFREY ORCH 



.75 HOLB 
.75 HOLB 



PAE 2031 N SAL 2.00 ARG 
55 TERR 



COOK 



8492 G+SAL .75 HOLB 



KITTEN ON KEYS VI 18900 E-SAL 

DOC COOK 1 4 DRS SYNCOPATION 

SLUE FOOT/WILL IE THE WEEPER CO 1070 G frUC 

WILTON CRAWLEY 
GEECH I E/6HES 40 W I TH ME 

B I NG CROSBY 

BALLAO FOR AMERICANS (ALB) DE 134 N SAL 3.50 ZEIG 

HAPPY GO LUCKY/LAZY DAY BR 6306 E AUC 5.00 PARR 

HUMPTY OUMPTY/DO U CARE DE 4064 N SAL 1.50 PARR 

WAY U LOOK/A FINE ROMANCE DE 907 E+SAL 1.25 HOLB 

YOUNG AND HEALTHy/yOURE GETTINGBR 6472f/gaUC .50 TERR 

PENNIES HEAVEN/LETS CALL HEARTDE 947 V-AUC .40 TERR 

SAILOR BEWARE/MY HEART AND I DE 63l V AUC .50 TERR 

G MS FROM SCANDAL6 MEDLEY BR N SAL MERK 

BLUE LABELS— MANY DE N SAL MERK 

BRTHER CAN U SPARE/HOME COE 1 829 N SAL 2.00 ARG 

SHINE/SOME THESE OAYS/SWEET GACOE 1845 N SAL 2.00 ARG 
GOT THE WORLD/STAY ON RIGHT SIDEC0EI964N SAL 2.00 ARG 

PARADISE/HONEYS LOVIN ARMS COE |97| N SAL 2.00 ARG 

HOW DEEP IS OCEAN/TRY TENDER COE 1985 N SAL 2.00 ARG 

LOVE IN BLOOM/PLEASE COE 1 802 N SAL 2.00 ARG 

HERE LIES LOVE/PLAYING FIRE COE 1990 N SAL 2.00 ARG 

WALTZING IN DREAM/wELL MAKE HAYC0E2074 N SAL 2.00 ARG 

LOVE THY NEIGHBOR/MAY I COE 2059 N SAL 2.00 ARG 

HUMMIN WHISTLIN SINSIn/dREAM COE 2060 N SAL 2.00 ARG 

TEMPTATION/THANKS COE 2056 N 6AL 2.03 ARG 

GAY LOVE/CANT WE BE FRIENDS COE 2035 N SAL 2.00 ARG 

YOUNG HEALTHY/LAZY DAY COE 2027 N SAL 2.00 ARG 

LAST ROUNDUP/SOMEONE STOLE COE 1994 N SAL 2.00 ARG 

TIL WE MEET/KISS YOUR HAND COE 2036 N SAL 2,00 ARG 

LOVE IN BLOOM/HAD TO BE THAT WAYME I 3 1 65G+AUC PIKE 

CABIN IN PINE AUCOI 160 N AUC — MARC 

SWEETHEART SIGMA CH I /DREAM G I RLA JC05840N AUC MARC 

TRAOEW I NDs/nE I jHBOR IN SKY DEAU5537 N AUC M ARC 

SAI LOR BEWARE/VERV THOUGHT OF DEAU5067 N AUC — MARC 

JUST G I GOLo/( C OLUMBO ) SWEET 4 BB 7| I 8 E+AUC MARC 



BING CROSBY BLOWUPS 

JIMMY VALENTINE/TROUBLES IN DRPLASTIC N SAL 3.00 ARG 

BLUES SCRENADe/rOBINS ROSES PLASTIC N SAL 3.00 ARG 

BOB CROSBY 

LOOPIN THE LOOP/MY I NSP I RA T I ONDE 2209 E+AUC 
YOUR DRIVING ME CRAZY/CANT WE DE 1680 V AUC 



DE N SAL 

DEE 7|5| N AUC 
DEE 7596 N AUC 
DEE 7592 N AUC 



GOLD 
GOLD 
MERK 
MOUL 
MOUL 
MOUL 



CA 



29 1 N AUC 



MANY MINT 

JEZEBEL/BIG FOOT JUMP 
JAZZ ME BL/WASH LEE SWING 
CHERRY/SMOKEY MARY 

DIXIE OAISEYS 
LOVIN SAM/WHAT MORE DO U 

EDDIE OELANGE ORCH 
NEW SHOES BL/WHAT LITTLE GIRLSBB 7855 N AUC 

DIXIE WASH BOA RO BANO 
GIMBIE BL/DARK EYES CO 1 4 1 33 G AUC 

JIMMY DORSEY 

SLAP THAT BASS/THEY CANT TAKE DE 1 203 V- SAL .50TERR 
TOMMY DORSEY 

SWI NGT IME/6WI NG HIGH VI 27249 N- AUC MAGG 

STOP KICKING/ALL IN FAVOR SW I NGV I 26356N/ESAL 1.25 GOLD 
JAMMIN/TURN OFF MOON VI 25553 V AUC .35 TERR 

SWEET IS WORD/HULA HEAVEN VI 25532 V AUC 

u/u NEVER LOOKED SO BEAUTIFUL VI 25291 E AUC 
MIDNIGHT ON TRA I l/hAWA I I AN VI 26126 V SAL 
RAIN IN EYES/THEY CANT VI 25549e/nAUC 

ONE UMBARELLA FOR 2/l TS WRITT VI 25|72e/vAUC 
HEAD OVER HEELS/mAY I HAVE V1 25487 E AUC 

THE SKUNK SONG 1—2 
ILL BE SEEING u/POLKA DOTS 
MOMENTS MOONLIGHT/SHAKE DOWN 
SONNY DUNHAM 



V I 2762 1 E+AUC 
VI 26539 E-SAL 
VI 26525 E-SL 



COOK 



.60 TERR 

.50 TERR 

.50 TERR 

.50 TERR 

.50 TERR 

.50 TERR 

P IKE 

.75 TERR 

.60 TERR 



BBCI |5|4 E AUC 



MAGG 



BR 8063 E AUC KEND 

BR 8200V/GAUC — KEND 

PAE |6|5 N SAL I .50 ARG 

BB 6565 V SAL .89 COST 

BB 6782 E AUC COST 



MUS 461 N SAL 

CO 35556 E SAL 



SWEET TALK/U'R BLASE 
DUKE ELLINGTON 
lost meoitation/ridin on bn 
love in swingtime/watermelon 
the mooche/sweet chariot 

SARATOGA SWINQ/mISTY MORNING 
WASH WOBBLE/ARABIAN LOVER 
SCATTIN KIT KAT/NEW 8 1 RM I NGH AMBR 7974 E SAL 2.63 COOW 
JUMPIN PUNKINS/BL SERGE • VI 27356 E SAL 1.53 COOW 

CHELSEA BRIOGE/WHAT GOOD WOULDVI 27740E/VSAL 1.1 3 COOW 
SHERMAN 6HUFFLE/HAYF00T STR AWFOOVI 20 1 505ESAL .83 COOW 
HAPPY 00 LUCKY LOCAL 1-2 
STROMY WEATHER/SOPH LADY 
Z t-GGY ELMAN 

UR MINE u/ZAGGIN WITH BBCI03I6 E+AUC 

OCHI CHORNYA/BOOGIE BEAT BBCI I 298 E AUC 

ELLA FITZGERALD 

MANY MINT (wEBb) DE N SAL 

CANT HEL LOVIN DAT MAn/| CANT DE I 842 1 V— SAL 
I WANT WAITER/THATS ALL DE 2628 E 6AL 

FRISCO SHNCQ-ATORS 
EVERY WEDNES0AY/JU6T A LITTLE TR 11208 V AUC WEND 

GEORGE GERSHWIN (PIANO SOLOS) 
COMPLETE COLLECTION. MOST UNISSUED IN 

USA AND VERY RARE. WRITE FOR DETAILS— - AUC CARV 

ARTHUR G I BBS AND GAN8 
BEALE ST/LOU I SV ILLE LOU (|"hr)v| 19070 N-SAL 2.00 HOLB 

DIZZY GILUTSPBE 



.53 COOW 
.53 COOW 

MAGG 

MAGG 

— MERK 
.65 TERR 
.50 TERR 



MONTE CA— 2 SIDES— SUPER VERSION PLASTIC 



GOOD BAIT/DAY BY DAY |2* 
THE SQUIRREL/ONE BASE HIT 
TABU 2 SIDES 10" 
GROOVIN HIGH/OW I 2* 

JAZZ GILLUM 
5i hiqhway/im that man 

GOLDEN GATE ORC H 
GEORGETTE 

GENE GOLDKETTE 
MY PRETTY GIRL 6T0MP 
FOX TROT CLASSIQUE/PALE MOON 

BENNY GOODMAN 
BLUE R00m/c| RIBIRI Bl N 
BUGLE CALL RAg/niTWIT SEREN 

sugar/opus 3/4 

bl your flat/my flat 

TIGER RAG/wHI6PEfllNG (0l) 

ol pappy/junk man (bailey) 
VI 25398,25521,25792,25473 
COMES LOVE/RENDEZVOUS TIME 



PLASTI C 
PLASTIC 
PLASTIC 
PLAST I C 



N SAL 2.50 ARG 
N 2.50 ARG ARG 
N SAL 2.50 AUG 
N SAL 2.00 ARG 
N SAL 2.50 ARG 



BB 77l 8 E SAL I .15 ZEIG 



BELL 160 N-SAL .75 HOLB 



VI 20588 V AUC 
VI 19345 V AUC 



PHIL 

.30 TERR 



HMV 8852 N SAL 2.00 ARG 

COE 1003 N AUC 4.00 PARR 

HMV 8957 N AUC 2.50 PARR. 

HMV 8872 N AUC I .50 PARR 

VI 25421 N A JC 2.00 LEVI 

COE 730 N AUC 2.00 LEVI 

VI — — N SAL l.lO KEND 

CO 35201 E SAL I .15 ZEI G 



CO 35497 N SAL 1.40 ZEIG 

VI 25268 E SAL 1.40 ZEIG 

VI 25333 V+SAL 1.40 ZEIG 

VI 25445 V+SAL 1.40 ZEIG 

40 TERR 



one sweet letter/sca tterbra1 n co 35241 e+6al i.|5 ze i 0 
crazy rhythm/mr meaoowlark 
maohouse/dev i l and sea (0l> 
china boy/lady be good ( ol ) 
alexanders/riffin ritz (ol) 

send want list for others — • — — 

SWING LOW/WHEN U AND I ( RM Ch) VI 25492e/n»UC 

FOUND NEW BABy/swINQTIME VI 25355e/vAUC .50 TERR 
GEE BUT YOUR SWELL/sUOKE DREAM6V 125486 E AUC .50 TERR 

NO OTHER ONE/YANKEE DOOOLE VI 25193 V AUC .75 TERR 

THE EARL/LETS DO I T OK 6474e/vAUC .35 TERR 

LOVE NEVER WENT/l 0 I ONT KNOW CO 35230 V AUC .35 TERR 

GOODY GOODY/lTS BEEN SO LONG VI 25245 E AUC .50 TERR 

SHUT EYE/GOOD FOR NOTHIN VI 26|59 V AUC .40 TERR 



FOR DISPOSITION 



29 



•CHANGES MADE / J'JU°) N 
A NO THE H GUESs/gOOONISHT 
OUD FLAME/hOW DEE° OCEAN 
UNDEC1DEd/*ELL NEVER KNOW 

GLEN 3RAr 
BUGLE C»LL/'«I3 3BANOE , 
■WEN U AWAKE/TALK OF TOWN 
COPENHASEn/ JUNGLE JITTERS 
BUODha Sy ILES/CORAL SEA 
JIMTOWN 3l/Bi3 BAD BILL 

)063Y HACKETT 
dabdanella/bugle call rag Ok 5375 E AUC 
GHOST OF chance/doin The new VO 4565 E AUC 
JAZZ BANO BALL/IF DREAMS COME VO 4047 E AUC 

ADELAIDE HALL ACC LESLIES BLACKBIRDS 



CO 362iOg/vauC 
VI 25461 E-AUC 
CO 36754g/vauC 
VI 26 1 34 v-AUC 

de' 369 v/eauc 
oe iS800v/gsal 

DE 1048 V SAL 
OE 3261 E SAL 

de 3303e/vs.\l 



MJST HAVE THAT MAn/baBY 
BABY/MUST HAVE THAT MAN 

LIONEL HAMPTON 



BR 403IE/VAUC 
BR 403|'//gAUC 



.30 TEBB 

.55 TEBB 

.25 TEBB 

.40 TEBB 

.30 TEBB 

.45 TERR 

.55 TEBB 

1.00 GOLD 

I .00 GOLD 

MOUL 

MOUL 

MOUL 

— COST 
PA RB 



JIVIN VIBES/STOMP 


VI 


255 35 


H 


AUC 


COST 


JACfC THE BELLBOy/cENT AVE BR 


VI 


26652 




AUC 


COST 


LOOSE Wl S/0<EST1ME 


DE 


13669 


V 


AUC 


COST 


BOUNCIN AT BEA COS 


VI 


27364 


N 


SAL 


1 .40 ZEIG 



LILLIAN HARRIS ACC N.Q.JAZZ BAND 



BEG 9442 E AUC PHIL 

VOE 222 E AUC 4.00 PA BR 



VI 2l57l - AUC 



SUGAB BL/4 OCL BL 

CSLEWA'. -»!' r.S 
SWING IN GB0OVE/-NOW U KNOW 

ERSK IN£ HAWK IM! 

JUNCTION BL/ASHES In TRAY 
SLUE SEA /LOVE U TOULY 
MISS HALLELUJAH BBOWN * 
ROCKIN ROLLERS JUBILEE 
DEAR OLD 60UTHLAND/6WANEE 

OR ACE HAYES 
I CANT GIVE U ANYTHING 

JOE "A^MES/CHlCK BULLOCK 
jAZ- 30-.E5 'BL pRE-jCE CQ 8|38 V S 

HEADQUARTERS FR IMPORTED SETS 
CLAUDE LUTEB-6IDNEV BECHET-MUGSSY SPANIER 
GRAEME BELL-WEZZ-LADNI ER-MORTON-NORK 



FLETCHER hENQERSON 
WHY COULONT it be/bex battle 
■ bappin it up/hmeho.se bl 
i2th st rao/m ilneberg joys 
st ecu is shuffle/variety st 
rickety rackety shack 

°0S» henBERSQN 

MIDNIGHT BL/LIZZIE MILES 

EVELYN HERBERT 
SIL'EB MOON 
LOVER COME BACK 

tOOOY HERMAN 
MB GHOST GOES TO TOWN 

on jazz/tbouble in mi no 

INDIAN BV/BL EVENING 

INDIAN Bl/SL EVENING. 
MANY MINT 

I LLB I LL.YS 
MANY HIM! 

EARL Hires 



BB 10790 


E AUC 




MASS 


BBCI |4|9 


V AUC 




MAGG 


BB 73lO 


E+6AL 


1.15 


ZEI 3 


BB 7826 


E+6AL 


1 .15 


ZEIG 


VO 3567 


N SAL 


1.15 


ZEIG 



M ILL 

.50 TERR 



JELLY JELLv/lM FALLING FOR U 
I CANT BEL IEVE/BHYTH SUNOAY^CBOK 6250G/EAUC 
DE 654E/VAUC 

BB3003I 7 N 6AL 
BBC3008I 7N-AUC 
BBCI 1447 E AUC 



VO 3336 E+SAL 1.40 ZEIG 



JAPANESE SANDMAn/jUL IA 

JOHNNY HODSES 
PASSION FLOWER/OUT BACK WAY 
PASSION FLOVER/GOINC 
THINGS AINT/6QUATTY BOO 
HOKUM 60YS 

do u catch on/every man 
BILL' HOL I DAY 

MA NT MINT 

LOVER MAN/OLD DEV'L LOVE 
THFM THERE EYES/SOME OTHER 
ALL OF VE/bOMANCE IN DARK 

JACK HYLTQn/ABDEn OHMAN 
KINGS HORSES/SLEEPY TOWN EXP VI 22619 E-AUC 
INK SPOTS 

MANY hTnT DE N SAL 

BUD JACOBSON JUNGLE KINQS 
LAUGHING AT u/l CANT BELIEVE SG 901 E AUC 
CLARINET MARMALADE/OPUS I SG 903 E AUC 

HARRY JAMES 



GOLD 

GOLO 

I .00 PI KE 

MAGG 

MAGG 



DE N SAL 

DE 23391 E+AJC 

vo 502 1 v/eauc 
ok 62i4e/nsal 



ILL GET BY/FLATBUSH FLANNISAN CO 36698 V SAL 

JAZZBOS CAROLINA SERE NADERS 

ACHIN HEARTED BL/si STEP KATE CA 269 N AUC 

BL I HO LEMON JEFFERSON 

LONG L0HES0ME/G0T THE BL PM 12354 V SAL 
JACK JENNEY 

AFTER I SAY/lLL GET BY VO 5494 E AUC 

WHAT IS THEBE TO Say/wOBLD IS VO 5407 E AUC 

STAROUST/CUBAN BOOG WOOG OK 5304 E AUC 

I WALK ALONE/CITY NIGHT VO 5355 E AUC 
9UNK JOHNSON 

OE N SAL 



MERK 

MARC 

MA BC 

I.|5 ZEIG 

.60 TERR 

MERK 

MOUL 

MOUL 

.50 TERR 

COST 

3.00 HOLB 

MOUL 

MOUL 

MOUL 

MOUL 



ALEX RAGTIME BAND 
TISHOMINGO BL 



DE 



n sal 



MERK 
MEBK 



AL JOLSON 
OLD MAN RIVER 
00G1E OOGIE WAWA 

ISHAU JONES QPCW 
MY BABY JUST CABES FOR ME 

ROGER WOLFE KAHN 



3867 - AUC 
3588 v SAL 



BR 4907 N AUC 



MILL 

.40 TERR 



YEABNING/HOT HOTTENTOT 


VI 


13616 


G 


AUC 


WEND 


BAMMY SH"RE/LOOK WHO HERE 


VI 


1980S 


V 


AUC 


WEND 


1 NEVER KNEW/SITTIN ON TOP 


V 1 


1 9845 


6 


AUC 


WEND 


LUCKY B0Y/I.ITT1E BUNGALOW 


VI 


19860 




AUC 


• # END 


baby/lantern OF LOVE 


VI 


19942 


V 


AUC 


WEND 


AT PEACE WITH W0RLD/|D CLIU 


S VI 


20045 


V 


AUC 


WEND 


SOMETIMES IU "APPY 


VI 


20599 


V 


AUC 


WEND 


JUST THE SAME 


VI 


20634 


V 


AUC 


WEND 


CRAZY RHYTHM/ 1 MAGI NAT ■ ON 


V 1 


21368 


V 


AUC 


WEND 


DANCE LITTLE LADV/rOOM WITH 


VIEV 


21801 


V 


AUC 


WEND 



DOLLY KAY 
RED HOT MAMA/BIG BAD BILL CO 
BUZZ M I BANDY/'l TS THE LAST TIMECO 

SAUUY KAYE 
HEAD ON PILLOw/LOVE SONS 

LLOYD KEATING 



226 V AUC 
3644 v AUC 



WEND 
WEND 



VI 26502 E SAL .50 TEBB 



2 1 77 V AUC 
5380 G AUC 



2630 V AUC 
7587 V AUC 



WHERE .CAN U BE /OLD N.E.M0ON VE 

AS TIME GOES By/wHAT ARE U CL 
HAL KEM- 

SLOOMY SUNDAY/DESIRE BR 

MUSIC SOES ROUND /DINNER FOR I BR 

SMALL HOTEL/lTS GOR 2 BE LOVE BR 7634 G AUC 

GOT DATE ANGEL/LAMPLIGHT VI 2565 1 E AUC 

DANGER LOVE AT WORk/lONL I NES6 VI 25628 E-AUC 
STAN KENTON 

CAP |59-I 78-1 37-229 EACH e/nSAL 

CONCERTO DOGHOUSE/LAMENTO DEC I 0378 N AUC 

NANGO/LOVE OF MINE DE 4037 N SAL 

TEMPO KING 

PAPA TREE TOP TALL/LOVE SONGS SB 

ANDY KIRK 



WEND 

WEND 

W END 

WEND 

WEND 

.40 TERR 
.40 TERR 

.45 COOW 
— — MAGS 
1.40 ZEIG 



6535N/ESAL 1.40 ZEIG 



LADY WHO SWINGS 8 A ND/whA T WILLDE 
TOAD IE TODDLE/i WONT TELL DE 
KNICKERBOCKER ORCH 



1085 G AUC 
2 1 27 V AUC 



WEND 
WEND 



RECORDS 


- THE 


BEST 


COHE 


APC 83l6 


E AUC 




COST 


oe 157 


E AUC 




COCT 


asch 350 


E+AUC 




MAGG 


BBC 1 "246 


N-AUC 




MAGS 


DO 4062 


N SAL 


2.00 


HOLB 


VI i9i24g/vaUC 




COST 


VI 20995 


- AUC 




MILL 


VI 21383 


— A'JC 




MILL 


OE 1079 


N SAL 


1.15 


ZE 1 G 


OE 1307 


E+6AL 


1 .15 


ZE 13 


DE 2250 


N SAL 


1.15 


ZEIG 


DE 2250 


V AUC 


.35 


TERR 


OE 


N SAL 




MERK 


DE 


N SAL 




MEBK 


BB 11065 


N AUC 




SHAY 



Rio rita/kinkajou 


CO 


393 


V 


AUC 


WEND 


KA LU A/BL OANUBE 3L 


CO 


3516 




AUC 


WEND 


dapper dan/i WANT YOU 


CO 


3533 


. 


AUC 


WEND 


California/ ld fashioned girl 


CO 


3578 


V 


AUC 


WEND 


BYGONES/POOR LITTLE ME 


CO 


3602 


G 


AUC 


WEND 


FRANK KOMPLAI'! 












ROLLON SILVER MOOn/slEEP BABY 


BELL 1 1 12 


V 


A JO 


WEND 


EMMETTS LULLA3YE/EMMETTS CUCKOO 602904 


G 


- - 0 


WEND 


BENNIE KRUEGER 












DANGEROUS BL/A 1 NT WE GOT FUN 


^R 


2109 


V 


AUC 


WEND 


SCHOOL HOUSE BL/GOT MY HABITS 


SB 


2l8l 


V 


a , : 


WEND 


STIA'BLI n/|M JUST WILD 


5 = 


2272 


G 


AUC 


WEND 


SWANEE BL/SWEET INDIANA HOME 


3C 


2281 


'.' 


AUC 


WEND 


CHILI BOM BOm/hOME IN PASAOENABR 


2562 


a 


AUC 


WEND 


WANG WANG Bl/SPREAD YO STUFF 


BR 


2033 


V 


A J 0 


WENO 


HOW MANY TIMES/EVERYBODY STEP 


9E 


2l5l 


V 


AUC 


WEND 


GENE KRUPA 












KNOCK ME A KISS/DELIVER ME 


co: 


660 


V 


AUC 


MAGG 


ART LANDRY 












LAZY BL/lLL GET U 


. 


19433 


. 


AUC 


WENO 


5 FT 2 EYES BLUE/OONT WAIT 


. 


19850 


V 


A JO 


WEND 


ED LANG 












Change's made/chubch 6T 


PAE 


1495 


N 


SAL 


1 .50 ARG 


A=THUR LANGE 












u GAVE HE/lLL BE IN 


CA 


265 


. 


AUC 


WEND 


NIJIJO NOVGo/l LOVE U 


CA 


404 


V 


AUC 


WEND 


chansonette/sweet KALUA LOU 


CA 


429 


V 


AUC 


WEND 


TICKLE ME/CABOLINA IN MORNING 


OA 


281 


. 


AUC 


WEND 


SAM LANIN 












HO hum 


HO* 


1 i5l 


V 


AUC 


WEND 


annabelle/my sweetie 


PE 


14142 


G 


AUC 


WEND 


SING1N IN RIN/OBANGE BLOSSOM 


Dl 


2934 


V 


AUC 


WEND 


CLOCK OF LOVE/l CALLED U SUN 


OD 


20047 


G 


AUC 


WEND 


ARKANSAS Bl/lONESDME LOVESICK 


RE 


9164 


V 


AUC 


WEND 


TOODLE 00 


PAT36036 


G 


AUC 


WEND 



DE 23446 - AUC 

vi 20331 - AUC 



8791 E AUC 
53 I 9 V SAL 



GERTRUDE LAWRENCE 

POOR JHh 
SOMEONE TO WATCH 

LEAOBELLY 
GOOD MOBNING Sl/LEAVING BL 

CHESTER LEIGHTON ORCH 
stabdust/now U IN ARMS 

LEVEE LOUNGERS 

CAROLINA M00N/NISHT MEMORIES PE 15098 E AUC 

TEO LEWIS 
8EALE ST 8l/mEMPHIS BL 

annabelle/eddie ELKINS 
fate/paul specht 
oh/gobman nov synco 
bo la bo/kentucky seb 

GUY LOMBARDO 
L00K6 LIKE RA I n/T00OLE 00 

VINCENT LOPEZ 



JIMMY LUNCEFORD 



MILL 
■ M ILL 



MARC 



.60 TERR 
MARC 



CO 


1050 


G 


SAL 


1 .10 


COOK 


CO 


3957 


N 


AUC 




COST 


CO 


3738 


V 


AUC 




COST 


CO 


2844 


V 


AUC 




COST 


CO 


2895 


V 


AUC 




COST 


VI 


25572 


V+-SAL 


.65 


TEBR 


BB 


6264 


N 


AUC 




=HIL 


BR 


20065 


G 


SAL 


.70 


TERR 



WELL ALL RIGHT/TIMES WAST1N VO 4887G/VT- 



LJNCEFORD CONT INUEO 

IN MY OREAMS/uERRY SO RNDOE |3|8v/eT- 
CLAUDE LUTER 



ALL THE SREAT FRENCH BELEASES NEW 

ENRIC MADRIa'JERA 
COUE TO THE FA I R /my THRILL 3R 



SAL 



COHE 



3B 8415 E+SAL .90ZEIG 
CO 35465 N SAL 1.40 ZEIG 
VI 27702 E SAL I • 1 5 ZEI G 



.60 TERR 



RAM0Na/D0 SOMETHING 

prazil/no NO NO 

FREDDY MART IN 
MILENBERO JOYS/WOLVERINE BBC 77|2 N AUC 

CLYDE MC COY 
MAPLE LEAF RAG(RM CH )/n I SHTUAREOE 68l E SAL 

/I OLA MC COY ACC HENDERSON— D I XON 
HOW COME U DO ME LIKE U DO RES 9667e/vAUC PHIL 

MCKENZIE CONDON JUNGLE KINGS 
FRIARS PT SHUFFLe/DarKTOWN STRUHCA 3 E+6AL 3.00 HOLB 

J IMMY MC PARTLAND 
ORIS DIX I STEP/ALL BOUND BOU DE |344| E T— A GOLO 

ETHEL MERMA '; 
LADY IN REO 'ANIMAL IN ME 

MEZZROW— LADN lER 
COMPLETE BRAND NEW SET OF 

MEZZ BECHET OU INTET 
BEALLY THE BL 1-2 
MAKIN FB I ENDS 



7491 E SAL .65 TEBB 



N SAL t 1 5 COHE 



KJ 146 N-AUC SHAY 

PAE 2031 N SAL 1.75 ARG 



LIZZIE MILES MELROSE 3 r 0MPERS 
HOLD ME PARSOn/hES RED HOT VO 5326 E-AUC MAGG 

CLE M N MILLER FILM SOUND TRACK 
COMPLETE SOUND TRACK OF SUN 
VALLEY SERENADE— 9 — I 2" UNBREAK- 
ABLE RECORDS (|8 SIOEsl N SAL$22.50ARG 

GLENN MILLER 

TOO ROMANTIC/SWEET POTATO BB |0605e/vAUC .50 TERR 

STARLIGHT MUS I c/HEA R MY SONS BB 10684 V AUC .50 TEBB 
AINTCHA COMIn/cBAZY MOON BB 10329 V AUC .50 TEBR 

MILLS BROTHERS 



IT DONT MEAN A THINS/CONEY ISLBR 6377 V AUC PIKE 

BELLS SAN RAQUEl/| OUESS DE 4070 V— AUC .25 TERR 

CARMEN M IRANDA 
WEEK END HAVANA/DIZ QUE TEM DE 23239 V AUC WEND 

MISSOURI JAZZ HOUNDS 
THAT BEO HEAO SAl/lANIN ORCH REG 9490 E AUC PHIL 

JELLY ROLL MORTON 
DONT LEAVE ME HEAr/bALLIN JACKB8 10450 E AUC 



COMPLETE BRAND NEW SET OF 6 
BEALE ST BL/THE PEARLS 
WOLVERINE BL/MB JELLY LORD 
DEEP CREEk/bL I SLAND( PARHAM) 
CLIMAX RAG/WEST END BL 
GEORGIA SWING/MOURNFUL SEB 
GRANDPAS SPELLS/CANNON BALL 

PH IL NAPOLEON 
GO JOE SO /TAKE YOUR FINGEB 

NORK 

WOLVERINE BL/WEARY 8L 
SWEET LOVIN MAN/LONDON BL 
THATS A PLENTY/TIN BOOF BL 
SH IMMESHAWABBLE/mI LEN3ERG 
CLAR/MARM/MR JELLY LORD 
GOLDEN LEAF STRUT/SHES CRY IN 
FA BEWELL BL/ECCENTRIC 
TIGER RAG/PANAMA 

RED NICHOLS 
PARADE OF PENNIES/HOT LIPS 
POOR BUTTERFLY /PRETTY GIRL 
L1MEH0USE BL /60UTHLAND |2" 

RAY NOBLE 
OVER 100 ENGLISH FOR TRADE 
ROLL UP CARPET/BOCK YOUR 



PH IL 

HUV N SAL $ I I COHE 

BBC 10252 E+AUC MAGG 

TJR 1 N TRA GOLF 

BB 5333 N AUC 2.00 LEVI 
BB 10442N/EAUC 2.00 LEVI 
HMV 9221 N AUC 2.00 LEVI 
HOM 54 N SAL 2.00 ARG 

VI 20605 G+SAL 1.25 COOK 



GO 


509 


N 


SAL 


2.00 


ARG 


B ac 


22l0 


N 


SAL 


1 .50 


ABG 


BRE 


2208 


N 


SAL 


1 .50 


A " 0 


JAZZ5006 


N 


SAL 


2.00 


ABG 


VJR- 




N 


SAL 


2.00 


ARG 


PLA 


1 16 


'. 


SAL 


2.00 


ARG 


3 = E 


221 1 


N 


SAL 


2.00 


ABG 


5Pr. 


2212 


■. 


SAL 


1 .50 


a = ; 



BB 10360 E SAL 1.40 ZEIG 
BB 10522 N SAL 1.65 ZEIG 
BR 20070 E SAL 2.40 ZEIG 



HMV N-ETRA 

VI 25262v/EAUC 
WHEN IM WITH u BUT DEFINITELY VI 25336 V AUC 



LET SELF GO/LETS FACE 

JIMMY NOONE 
BIRMINGHAM BERTHa/am I BL 

RED NORVO 



vi 25241 V UAC 



OLI v 

.50 TERR 
.50 TERR 
.50 TERR 



1296 E AUC 3.50 LEV I 



GRAMMERCY SQUARE/DECCA STOMP DE 69l N/EAUC 

KING OL IVER 
MABELS OREAM/RIVERSIOE BL 
WEATHERBIRD RAG/jUST GONE 
HANDY LEE/lM GOIN AWAY 
LONDON BL/CAMP MEET IN BL 
WHERE DID U STAY LAST NITE 
CHATANOOCA STOMP/NEW ORLEANS 

OR IGINAL MEMPH IS F I VE 
TEASIN SQUEEZIN UAn/mUSIC BAD I EX I I 38 V AUC 
DADA STRAIN/TAINT NOBOOYS PAT20870 V AUC 

JAZZ ME Bl/anyTIME CO 36064 N AUC 

MEMPHIS OLI DE/SHUFFLI N MOSE RES 9476 E AUC 

OR IEOLE ORCH 
NEED SOME PE T T I n/l I TTLE CLOCK BR 



JAZZ5008 


N 


SAL 


1 .50 


ARG 


BRE 2202 


N 


SAL 


1 .50 


ARS 


BRE 2201 


N 


SAL 


1 .50 


ARG 


HJCA 


N 


SAL 


.98 


ARG 


BRS 2 


N 


SAL 


.98 


ARG 


TVJR 


N 


SAL 


2.00 


ARG 



COST 
.COST 
COST 
PHIL 



2637 G+SAL I .25 COOK 



3 N SAL I .05 GLOB 



K 10 ORY SUNSH INE ORCH 
ORYS CREOLE TR0m/S0CIETY BL I 

HOT LIPS PAGE TRIO 
JUST ANOTHER WOMAn/uY FIGHTIN HMV 926l N SAL 2.00 ARG 
ROCK IT FOR FOR ME/l LET SONG BB 7567 N SAL 1. 1 5 ZEIG 
UY FIGHTIN GAL/ANOTHEB WOMAN B3 8660 N SAL 1. 1 5 ZEIG 

CHARLIE PARKER 



GROOVIN HIGH/BIS FOOT 



|2"PLASTIC NSAL2.50 ARS 



30 

DISPOSITION 



CHARLIE PARKER CONTINU ED 
gr£ovin high/bio foot 

SLOW BOAT TO CHINa/hOT SHOP 
6ALTED PEANUT s/CHA S I N BIRD 
HALF NELSON/WHATE XMAS 

COLE PORTER 
YOUR THE TOP/THANK U MRS 



|2"PL ST1CNSAL 
|2"PLASTICNSAL 
|2"PLASTI CNSAL 
|2"PLASTICNSAL 



50 ARC 
50 ARG 
50 ARG 
50 ARG 



; I 24766 G SAL I .25 TERR 



4008 E AUC 



OE I639V/ESAL I 
PE 1 58 1 7 N SAL I 



HARRY RICHMAN 
■HAT OYA 6Ay/|U ON A CREST 

ADRIAN ROLL I N I 
YOUR A SWEETHEAR t/ JOSEPH 1 NE 
BY WATERFALL/SITTIN IN 

ROSELAND DANCE ORCH 
LOUISVILLE LOU/RAMSHACKLE SHACRE 9489 E AUC 

SACRED RELIGIOUS 
MANY MINT OE N SAL 

GEORGES SAUVE 
MON COVER ME 0 I t/tOUT BAS 

JAN SAV ITT 

QUAKER C I TY/S UGAR FOOT BBC 10005 N AUC 

RAYMOND SCOTT 
HAPPY FARMER/EGYPTI AN BARN DANCEC036277N AUC 

BOVD SENTER 
SH I NE/DO IN U 0000 

SEP I A. AND UUES 
MNY MINT 

BEE SHARP 



25 GOLD 
50 HOLB 



S T A R R 1 65 74E SAL .75 HOLB 



PI KE 



VI 2 1 3 1 2 E SAL I .50 HOLB 
DE N SAL MERK 



88 52|9 V AUC 



VI 27405 E+AUC — 
BBCI0I28 N AUC — 
BBCI0430 E AUC — 
BB 7772V/ESAL 2. 
BB 7875 E SAL I. 



WEND 

MAGG 

MAGG 

MAGG 

I 3 COO* 
53 C00» 
I 3 COO* 
I 3 COO* 
I 3 COO* 
I 3 COO* 



CO 372i3e/vsal 

CP 133 E AUC 
DEC 4 1 30 V+AUQ 




EASTER PARADE/NOT FOR ALL 

ART IE SHAW 
MOONGLO*/MY BLUE 
MAN I LOVE/VILIA 
LAOY 8E/| 6URRENDER 
COMIN~On/| CANT BELIEVE 
NGHTUAWE/nON STOP FLIGHT 

SOFTLY AS MORNING SUNRI SE/CO ENH AGEN I 0054ESA L2 
JUNGLE ORUMS/HAD BE U BB 10091 E+SAL 2 

ONE FOOT IN GROOVE/ONE NIGHT BB 10202 E SAL 2 
LADY BE GOOD/l SURRENDER DEAR BB 10432 E+SL 2 

BOBBY SHERWOOD 
ELKS PARAOE/l DONT KNO* CP 107 E-AUC 

SHILKRETS RHYTH— MELQD I ST5 
SORRY SALLY/CANT GIVE ANYTH VI 2 1 688 N— SAL I 

D INAH SHORE 
CLOSE ME EYES/BEL AMI 

FSEDOIE SLACK 
OLD ROB ROY/GET ON BOARD 
PIG FOOT PETE/STRANGE 

BESSIE SMITH 

MANY-SEND WANT LIST CO TRA — 

BACK *ATER BL/NOBODY KNOWS AUPA 7588 N AUC — 
TAKE ME FOR BUGGY R 1 DE/p I GFOOT AUPA 761 3 N AUC — 
DOWN IN DUMPS/DO YOUR DUTY AUPA 7548 N AUC — 
GRAVEYARD BL/jAILHOUSE BL CO 400 1 V AUC — 

KATE SMITH 

DANCING WITH TEARS/SHARING VE 2|70 V SAL , 

MAMIE SMITH JAZZ HOUNDS 
DAOA STARIn/| WISH I COULD OK 4689 E AUC — 

IF U DONT I KNOW WHO WILL OK 4228 V SAL I. 

SNOOKS MEMPHIS STOMPERS 
UNDER YOUR WINDOW TONIGHT BA 32 1 9 1 E-SAL 

MUGGSY SPAN 1 ER 

COMPLETE RAGTIMERS SET OF 8 HMV N SAL t 

2 OCL jump/wreck 97 DEC 4336 E AUC — 

CHARLIE SPIVAK 
6TARDREAMS/| SURRENDER 

DICK STABILE 
IF I COULD BE WITH u/jADA 

REX STEWART 

LI NGER AWHILE/LINGER 

STUYVESANT STOMPERS 
shine/blue tail fly 

TAMPA BLUE JAZZ BAND 
SUNNY JIM 

ART TATUM 

DEE!* PURPLE/TEA FOR 2 DEC 2456 E AUC MAGG 

ARA 4501,4502,4503,4504 ARA N SAL .75 KEND 

JACK TEAQARDEM/^ARRY JAMES 
THE BLUES/OH LOOK AT U 

TENNESSEE TEN 



MAGG 
MAGG 

LEV I 
MARC 
MARC 
MARC 
PHI L 



PH IL 

00 HOLB 



I 5 COHE 
MAGG 



COC 592 E- AUC- 



MAGG 



DE 977 V SAL I , 
BBC I 1057 E+AUC 
PX 



.00 GOLD 
MAGG 

I N SAL I .05 GLOB 
OK 4803 V+SAL .50 HOLB 



downhearted bl/gulf coast 
kay thompson orch 

carelessly/lull in life 

TINSLEYS WASHBOARD BAND 



EL 5042E/VAUC 
VI 19094 E AUC 



GOLD 
PHIL 
ALCO 

HMV 8655 N SAL 1.50 ARG 



VI 25564 G AUC 



AMEN CORNER/PRETTY GIRL 

SOP IE TUCKER 

SOME THESE DAYS VI 22049 - AUC 

JOE TURNER AND FREDDIE SLACK 



ROCKS IN BED/GO IN CHICAGO 

RUDY VALLEE 
ORUNKARD SONG 

FATS WALLER 



DEC 4033 V+AUC 



VI 24739 - AUC 



ST LOUIS BL (ORGAN SOLO) VI 20357 G+SAL I 

JOINT JUMPIN/l CANT ,G I VE U V|20|582 V-SAL 

WASHBOARD WONDERS (WELLSTOOD) 
OONT FORGET TO MESs/bORDELLO DAYSPX 2 N SAL I 



MILL 



50 COOK 
75 TERR 



dinah/old HOME 

CHICK WEBB 



ETHEL WATERS 

100 YRS FROM/COULONT ( BG 0RCh)c0 2853 E AUC 3.00 PARR 

OE 234E/N6AL 1.40 ZEIG 

OE 1032 V AUC .30 TERR 

VI 20627 E SAL 1.50 COOK 

I DEC 2222 V+AUC MAGG 

VI 2 1 304 G+SAL 1.50 COOK 

VI 2|2|4 V+RALI.25 HOLB 

.) VI 21398 E SAL 2.25 HOLB 

CO 1465 E-SAL 2.00 HOLB 



HAVE TO SWING It/mR RHYTHM 

PAUL WH I TEMAN 
PRETTY LIPS (HR Cr) 
JEEPERS CREEPERS /MUTINy(TIA 
PARAOE WOODEN SOLD I ERS ( 8 I x ) 
LONELY MELODY ''rAMONA(BIx) 
U TOOK ADVANTAGE (BIX & BIN 
ON THE CREST OF A WAVE(BIX 



SPOS In/lAUGH IN MAR IONETTE( RMCH )C0 1862 E+SAL 1.50 HOLB 

WANG WANG Bl/aNYTIME VI 13694 G AUC ALCO 

DANCING TAUBORINE/sHADY TREE VI 20972 V AUC .50 TERR 

CHANSONETTE/WHAT DO U 00 VI 19145 E SAL .65 TERR 

OH ME OH My/lEARN VI 13778 V SAL .65 TERR 

LAST IJIGHT BACK PORCh/|F I VI I 9 1 39 V SAL .65 TERR 

THO ONE I LOVE/SHANGHA 1 VI 19245 V-SAL .50 TERR 

ALEC WILD'R OCTET 
SEA FUGUE MAMA/JAP SANO 



COC 6042 N AUC MAGG 

CO 35648 N SAL 1.15 ZEIG 



I 44l 3 N AUC 



73 V+SAL .50 HOLB 



SELDON THE SUN/CHILDREN 

CLARENCE WILLIAMS 
MANDY MAKE UP M I NO/BLACK B I RDAUCO 2727 N AUC 

WILLIAMS SISTERS 
SAM ACCORDIAN MAn/nOTHING ELSEVI 20452 £ AUC ■ WEND 

EMMA WRIGHT (RACE) 
LONESOME TRAIL BL 

CLARENCE WILLIAMS 
DANCE THEY CALL THE GA HUNCH OK 8029 E AUC 

UNIVERSITY SIX 
I LOVE BABY/GREEN HAT 

BLESH BROADCASTS 
COMPLETE LISTINGS HIRS 

CYLINDER RECORDS 
LOTS OF 50-10^-2 4 4 MIN. EO V-ESAL PHIL 

FOUR POCKET ALBUMS 
lOrfEACH N CONDITION ROSE 

OFF THE AIR RECORDS 
AM SELLING OUT COLLECTION 
OFF THE AIR. 300 ITEMS-SEND 

FOR FREE CATALOGUE. ALL A I s SHOTS FROM DEC 46I.25WEIN 
LISTS 

STOL 

N SAL 2. 10 GLOB 
N SALI9.25 GUOB 
N SAL 2.20 GLOB 
N SAL20.00 GLOB 
N SAL I .40 GLOB 
N SAL I .50 GLOB 
GLOB 



SEND FOR MY LI ST 

RECORD STOCK ENVELOPES 



10" 



1 2" 



BRO*N— PER I 00 

I 000 
GREEN— PER I 00 

1000 
BROWN— PER 50 
GREEN— PER 50 
10^ PACKING CHARGE. SHIPPING CHARGES COLLECT 

VICTOR RECORDS (ORCH) 
OUT OF PRINT 1929 LOTS 20{! V|2|-2200N SAL 

VINYLITE JAZZ REISSUES 
FREE CATALOGUE 



WANTE D 



FIRST FOUR LETTERS OF C01 LECTOR'S NAME. 
FOR ADDRESSES SEE PAGE 



PRICE OFFERED FOR RECORD 



CATALOGUE NUMBER OF RECORD 



1 | LABEL OF RECORD 




ALABAMA RASCALS 
GEORGIA GRIND 

FRED ASTAIRE (WITH AL STAR I TA 
loui siana/not my Gl RL 

CHARLIE BARNET 
ROCKIN RHYTHM E 
720 IN B00K6 E 
NAGASAKI E 
GROWL IN E 
SURREALISM E 
IM PRAY IN HUMBLE E 

BIRMINGHAM JUG BAND 
GERMAN BL 
G I VI N IT AWAY 

DOCK BOGGS 
DOWN SOOTH BL 
COUNTRY BL 
HARD LUCK BL 

ELDER RICHARD BRYANT 
HO* MUCH I OWE FOR LOVE 

CALIFORNIA RAMBLERS 
DOWN SOUTH CAMP MEETING E 
CHRI S AND HIS GANG E 

RUSS COLUMBO 



PE 

) 


0205 


7.50 


UMPH 


C JE 


535510.00 


CARV 


BB 


10785 




WASH 


BB 


10618 




WASH 


BB 


581 5 




TOWN 


BB 


58l6 




TOWN 


VR 


633 




TOWN 


BB 


101 |9 




TOWN 


OK 


8856 


3.00 


UMPH 


OK 


8908 


3.00 


UMPH 


rjR 


1 18 


2.00 


UMPH 


BR 


1 3 1 


2.00 


UMPH 


BR 


133 


2.00 


UMPH 


OK 


8579 


3.00 


UMPH 


VR 


577 




TOWN 


VR 


603 




TOWN 






2.00 


L 1 QU 



GERALD GRIFF IN 

ANY 

ERSK I NE HAWK INS 
WEARY BL/SWING OUT E 
SWING OUT E 

HAYES LOUISVILLE STOMPERS 

GET I T F | XEO BL 

T I NY H ILL ORCH 



ANY records by this ORCH. have some 

HARRY JAMES 
LIFE GOES TO A PARTY E 
I OCL JUMP E 
TEXAS CHATTER E 
LULLABYE IN RHYTHM E 
L.ITTLE WHTE LIES E 
HOME JAMES E 
CROSS COUNTRY JUMP E 
EL I ELI E 
ALL COE E 

LEWIS JAMES 

PAIE MOON 

TED LEWIS 



jenny/(frank westphal) e 
whereo u get those eyes e 
play fiddle play/lm sure of e 
stormy weather/moonl i ght e 
golo oiggers song/lts sunday e 
lazy bones/rhythm e 

M I NATURE DANCE PRO/(kATE SM | TH ) E 

BABY ROSE MAR IE 
ANY BR OR VI E 

MEMPHIS SANCTIFIED SINGERS 
THE GREAT REAPING DAY 

KING PL IVER 
MANY GE, VO, BR ETC E 

REV D.C. RICE 
a sure founoation 
hes got his eyes on 

ELDER OSCAR SANDERS 

PREACH I NG AND SINGING 

SIX JUMPING JACKS 
RAH RAH RAH/CHICK CHICK E 

SOUTH MEMPHIS HUG BAND 
RED RIPE TOMATOES 
KO KO MO BL 
POLICY RAG 

MAX I NE SULLIVAN, 



TURTLE DOVE 

RUSY VALLEE 



WIFFENPOOF SONG 

MINNIE WALLACE 
DIRTY BUTTER 

ANY RECORD ING GROUP 

BUSSE 2932-KARDOS 2722-HIMBFR 54 1 8 

1930-34 TITLES SEND FOR LIST 

SPR I NG AGA IN 

HIT THE DECK 1 2" 

BLUES SINGERS 
MANY EARLY (w(TH JAZZ ACC) V-E 

CATALOGUES 
1928 COLUMBIA & |9t8 VICTOR 
VARS1 T Y Sr ROYALE 

JACKIE BOY 
ANY LABEL, ROYALE ETC VARS 

NEW ORLEANS 
WILL BUY OR TRADE 

RECORDS 
Wanted any quantity 

T IGER RAG 

PHIL NAPOLEON N 
TEDDY WILSON E 
Dl XONS JAZZ MANIACS 
THE H I LLTOPPERS V 
HOLLYWOOD DANCE ORCH 

FOREIGN COLLECTORS 



OK 






KILR 


BB 


7839 





WASH 


BB 


10224 





WASH 


OK 


8269 


3.00 


UMPH 










8R0C 


BR 


8035 





TOWN 


BR 


8055 




TOWN 


BR 


8067 





TOWN 


BR 


8136 




TOWN 


BR 


81 78 




TOWN 


BR 


8350 





TOWN 


CO 


35531 





TOWN 


CO 


35979 




TOWN 










TOWN 


OK 


4891 




KILR 


CO 


381 4 




REEK 


CO 


667 




REEK 


CO 


2728 




REEK 


CO 


2774 


NR EE K 


CO 


2786 




REEK 


CO 


2775 




REEK 


CO 


56000 




REEK 


ANY 




1 .50 MA YE 


VI 


38559 


1 .50 


UMPH 






TRA OLIV 


vo 


1 l7 5 


2.50 


UMPH 


VO 


1262 


2.50 


UMPH 


PE 


0275 


2.50 


UMPH 


BR 





1 .25 


QU 1 N 


ME 


12773 


2.50 


UMPH 


ME 


|28|2 


2.50 


UMPH 


VO 


2585 


2.50 


UMPH 


VI 






KNOE 








KUNK 


VI 


38547 


2.00 


UMPH 






1 .50 


ORLA 








ORLA 


ANY 






BRON 
BRON 



TY LABELSVS 



WEND 

+.25 LI QU 



3.00 LI QU 



ED 51908 2.00 MAD I 
TW 2 % 10 MADI 

PT 12408 5.00 MAO I 

GG 2.50 It D I 

AP 8644 2.50 MAD I 



SEND ME 10 JAZZ RECORDS FROM YOUR COUNTRY 
AND I *LL RETURN 10 JAZZ RECORDS IN THE 

SAME CONDITION MAO I 

TRADE 

WILL TRADE BRITISH RECORDS FOR JAZZ PIANO ROLLS. 
WILL WELCOME ANY INFORMATION FROM READERS 

ON PIANO ROLLS FISH 

WANTEO 

NO JUKE BOX SCHN 



RECORDS IN ANY QUANTITY. 

WANT LISTS 
HAVE ALL TYPES DOME ST I C FOREIGN — 
YOUR WANT LISTS IMMEDIATE ATTENTION 



LEVI 
AVER 



it pays to advertise 

In The Record Changer 



DISPOSITION 



[FIRST FOUR LETTEH5 OF COLLECTOR 
IF 1 ")^ A DDRE SS . SEE FftGC 6, 



price if for sale; 
trace; minimum bic 



VALUE IF. FOR 
IF FQB \UCTl 



METHOD OF DISPOSITION: "S*L*> 
FOR SALE AT PRICE I NQ I CATFJD ; 
TRA " , FOR TRADE! "AU6 , AT 
UCT I ON.CLOS I NG DATE FOR BIDS. 
SEE PACE 6. ' T -A " F OR TRADE 
AUCTION; "T-S" FOR TRADE 
OR SALE: "STA" FOR SALE,TRAOE 
OR AUCTION. 



CONDITION OF 
E-Cx CELLENT; 

S-cnopj F-fa 



2 Ic^talCS v.uSEQ OF RECORD 



1 Il^bel cf g e : : ■ 




RECORD: N-NE* 
7— VERY GOOD 



1 2 3 4 5 



MARK ANDREIS ( GRAND ORGAN) 
SILENT NIGHT/aDESTE F I DEL 1 S VI 20298 E+AUC - 

CATTERALL, MURDOCH 4 SQUIRE 
TRIO IN E FLAT( BRAHMS )"l NALE CO 67089 N AUC — 

CATTERALL S. HARDY 
CONCERTO IN A UAJOR 3— A CO 67056 N AUC — 

EDMOND CLEMENT (TENOR) 
MWNON-LE REVE ( 1 2* ) " VI 74258 V+-SAL 

ALESSANDRO D 'ALBA 
TIC Tl Tic ta/vilta OK 86005 N AUC — 

MORIKE EDUARD 4 BERLIN STATE OPERA HOUSE 



TOO UNO VERKLARUNG 5-6 

M1SCHA ELMAN 
HUNAGIAN DANCE 7 (BRAHUS ) 

GERALD INE FERRAR 
ANNIE LAURIE I 2* 

KING GEORGE V 



OD 5072 N AUC 



VI 6*439 v+SAL 



vi 38052 G sal 



FIVE POKER *i A ; a '_ CONFERENCE I-2VI22338 V SAL 

»LHA gluck 



TU HABAERA ( SONG OF HAVANA) 

JASCHA HElrETZ 
SPANISH OANCE I 2" 

FRITZ KREISLER 



VI 64l 82 V SAL 



v l 74569 V— SAL 



rosary/old REFRAIN VI 720 V SAL 

CAPRICE VIENNOIS I 2" VI 74 1 97 G+SAL 

LENER STRING QUARTET 

QUAR IN C MAj(mOZACT) 5-6 CO 67028 N AUC 

OSCAR LEVANT 
DEBUSSY CLAIR DE LUNE (OTHERS)CO UU560 G SAL 

JOHN UC CORMACK 



NIGHT HYMN AT SEA 
OFF TO PHILADELPHIA 
SEVERAL UNISSUED PRESSINGS 
A LITTLE LOVE A LITTLE KISS 

NELL IE MELBA 
LO HERE GENTLE LARK 1 2" 



HUV N T— A — 

HVIV N T— A — 

H''V N— £T — A — 

V I 64343 N— SAL I 



ARG 

,40 TERR 

ARG 

ARG 

.35 TERR 

.50 TERR 

.50 TERR 

.30 TERR 

.30 TERR 

.40 TERR 
.30 TERR 

ARG 

.45 SHAY 

OLI V 

OLIV 

OLIV 

,00 HOLB 



VI 33073 V SAL .35 TERR 



NE1 CHAMBER ORCH 4 CHAS KRESHOVER 
PAUL JUON— CHAMBER SYMP OP 27 NG S 144 N A JC 
GABRIEL PtERNE 4 ORCH C OLONNE 



RAMUNTCHO 

ROSA PONSELLE 



CAV Ru ST I CA MA ( WELL U KNOW ) 

MAUO POWELL 
AT THE BROOK/THE SWA:i 

SCHUMANN HE INK 



IRISH LOVE SONG 



OE 25335 n AUC 



CO 49570 G SAL 



80IV/GSAL 



VI 87022 G SAL 



PR IEISSMAN AND BERLIN OPERA HOUSE ORCH 
SYMPHONY PATHET I QUE -4TH MOVE 00 5050 N AUC - 
RE INALD IERRENRATH 



ARG 

ARG 

.35 TERR 
.40 TERR 
.45 TERR 
ARG 



STEIN SON'; 

OPERA DISPOSITION 
OFF THE AIR RECORDINGS 
MADE OF ANY PROGRAM 
HEARD IN NY. HALF HOUR FOR I 5.C 

WANTED 



VI 5491 4 V SAL .50 TERR 



First four letters of collector's name. 
ifop address. see page. .16. 



|ppICE OFFERED FOP PECOPO 



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Reprinted from the Saturday RevieiV of LITERATURE 



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■MMF jazz parade 

""^f^ !§ LATE NEWS FROM COAST TO COAST 




NEW YORK 

Sidney Bechet is in town awaiting his pass- 
port for an engagement in Paris. In the mean- 
time he is whiling away the hours playing great 
sessions at the Central Plaza and Ryans. At 
the Ryan Bashes, besides Bechet, such stars as 
Roy Eldridge, Buck Clayton and Sammy Price 
have been lending a beat to the quiet of mid- 
town Sunday afternoons. 

Nicks has some competition at the Riviera, 
right across the street, where Art Hodes opened 
with a trio featuring Herb Ward and Pee Wee 
Russell. Lips Page is rehearsing a small combo; 
Josh White opened at the swank Embassy; 
Albert Nicholas staying in Los Angeles until 
warmer weather hits New York; Gene Krupa 
subbed for Benny when the latter took sick at 
the Paramount with his new band. Biggest 
rumor of the week has Benny going into the 
Stork Club with a sextet. If it goes through 
it will be called Bop at the Stork. 

Brad Gowans has been dismanteling Johnny 
Windhurst's 1920 Rolls Royce and is converting 
it into a racer. Sounds like the Condon book. 
Tony Parenti tells us he recorded some great 
rags in a trio for Circle. Should be good. 
Watch for the big Jan Festival February 19 
run by WNYC. Looks great from here. 




SAN FRANCISCO BAY AREA— Dick Oxtot 

While local jazzmen continued to land only 
casual jobs, Billie Holiday took over at Cafe 
Society on January 14th, packing them in as 
well as ever. Consensus was that Biliie's sing- 
ing leaves little to be desired, but that the as- 
sistance of the accompanying band, led by 
"Red" Norvo, is rather uninspired, most of the 
time. At press time she was once again em- 
broiled with the narcotics boys. 

Duke Ellington played a concert in San Fran- 
cisco January 30th and followed up with a 
dance in Oakland the following evening, but 
Louis Armstrong, enroute north for some Seattle 
dates, could find nobody to present him for a 
one-ntghter. 

Closest thing to jazz by visiting bands is 
probably the jumpy styles of Joe Liggins and 
Louis Jordan. Liggins has a two-week engage- 
ment at the New Orleans Swing Club begin- 
ning February 3, Jordan a couple of one- 
nighters. Aside from the above, the be-bop- 
pers have been taking over. Even Vivian Boar- 



man's popular music course at the U. of Cali- 
fornia, heretofore emphasizing New Orleans, is 
devoting time to bop. January 19th found 
bop bassist Vernon Alley as guest lecturer at 
the class. When he had finished some class 
members admitted bop might have something, 
although they still preferred their Mortons and 
Bessies. 

Holding out alone, Lu Watters' band was 
still playing New Orleans style. Burt Bales re- 
placed Johnny Wittwer as the band's pianist 
January 25th. 




LOS ANGELES & HOLLYWOOD— 
Jack Lewerke 

Kid Ory and his Creole Band opened Jan. 
15 at the Beverly Tavern in Hollywood for their 
first long engagement in Southern California 
since their stay at Billy Bergs over a year ago. 
Due to the fact that night club business has 
fallen off in the last year, five-piece bands 
have been the limit for the smaller clubs. Ory, 
who has always had a seven-piece band, had 
numerous offers for long engagements if he 
would cut his band to five, but turned them 
down, rather than leave out any of the boys 
in the band. Recently, when Bud Scott (guitar ) 
and Bus Wilson (piano) were forced to leave 
the band due to illness, Ory accepted the job 
for a six-piece band without guitar. 

Billy Eckstein and Georgie Auld and his 
Orchestra opened at the Empire (formerly 
Tom Brenemans) the early part of January, re- 
placing Woody Herman and the Herd . . . 
Duke Ellington is due to follow the first part 
of February. 

A new club is opening up the street from 
the Empire on Vine, the first attraction will be 
the noted author, Wingston Manone . 

Woody Herman and Charlie Barnet are now 
recording for Capitol. Their first records were 
released the last part of January. Incident- 
ally, a recent Capitol publicity release stated 
that Cap. was going all out for bop and had 
signed the tops in bop(s) to record. I'll bet 
Dave Dexter had nothing to do with this. 

Red Nichols and his six pennies (inflation has 
hit dixieland) are still at the Hangover, Red, 
by the way, has the best group he's had in 
many a lean year. 

Local dixie musicians are saying nice things 
about the newcomer to dixie, Johnny Best, 
after his latest record with Nappy Lamar on 
"Come Back Sweet Papa". Johnny was with 
the old Artie Shaw band during the "Begin 
the Beguine" days and during the war played 
with Shaw's Navy group. 




NEW ORLEANS— Don Perry and Fred Hatfield 

Most exciting news to hit New Orleans in 
recent months is the scheduled appearance of 
Louis Armstrong and his all-stars from Chicago. 
Armstrong is appearing as King of the Zulus 
this year in the annual Mardis Gras parade. 
Several possible concerts under the Mancuso 
Brothers, New Orleans Jazz Club and the Zulus 
are being eagerly awaited. 

Sharkey Bonano and his outfit have with- 
drawn from the Parisian Room concerts due to 
Sharkey's illness. New group there features 
Irving Fazola, Julian Laine, and other promi- 
nent New Orleans musicians. Rumor has it that 
Sharkey is planning some concerts on his own 
hook. 

Plans are also under way for a junior jazz 
group, sponsored by the Parisian Room, to al- 
ternate between the regular band during in- 
termissions. Informal sessions have shown that 
the band may prove to be worth watching. 

Al Burbank and his trio are once again ac- 
tive, this time at Lester's bar in the uptown 
section of New Orleans. After a period of 
illness, Big Eye Louis Nelson is still holding 
forth at Luthjens. Ernie Foster, onetime dixie- 
land band leader in the Vieux Carre, doing a 
single at the Old Barn with some fine valve 
trombone. Leon Rappolo doing spot jobs with 
an interesting outfit. George Lewis is still draw- 
ing them in at Manny's Tavern, playing as well 
as ever. 




JAZZ FAN CLUBS 

Clubs, clubs everywhere. Jazz must be on 
the upbeat because of late there has been a 
flood of groups announcing thaT they were 
open for business. In Boston, The Bob Wilber 
Dixieland Jazz Club at 248 Commonwealth Ave. 
has dedicated itself to the promotion of good 
dixie as well as seeing to it that the world 
knows more about the Wilber groups. Rod 
Kennedy and Ward Kiddoo are the moving 
forces. The Denver Jazz Record Club had 40 
people in attendance at its first meeting. For 
further info on this group contact Barbara 
Coopersmith, 2660 S. Franklin, Denver, Colo- 
rado. Jazz Unlimited is the name of the new 
Philadelphia group meeting at 1118 Walnut 
St. First meetings found about 36 enthusiasts 
on hand. Plans of this group call for the 
issuance of 12 records on their own label show- 
ing the evolution of jazz. 




the record 
changer 



March 1949 



Volume 8, No. 3 



Editor-Publisher 
BILL GRAL'ER, JR. 



Managing Editor 
ORRIN KEEPNEWS 



Production 
JANE GRAL'ER 



Art Staff West Coast Representatives 

GENE DEITCH— Cover & Cat JACK LEWERKE 

SIMA RUVIDICH— Design & Typography 11800 Wilshire Blvd.. Los Angeles 25, Calif. 



CONTENTS 




Cradle of Recorded JazzAl G. McCord 


6 


Humphrey Ly+tleton 


Derrick Stewart-Baxter 


8 


Good and Rare 


Joe & Cecile Madison 


10 


Collectors 


Gene Deitch 


10 


Peace in the Ranks 


Sidney Finkelstein 


1 1 


An Attack on Critical 
Jabberwocky 


Charles Delaunay 


13 


Records Noted 

Ward Pinkett 
Discography 


George Avakian 
Bucklin Moon 
Paul Bacon 

Albert J. McCarthy 


15 
16 


I've Been Roaming 


Edward Hill 


17 


Record Exchange Section: 
Advertisers' Addresses 
Records for Disposition 
Records Wanted 


23 Collectors' Display 
25 Classical Exchange 

28 


Ads 29 

29 



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Copyright 1949 By Changer Publications, Inc. 



let that 
foul air out 



To The Editor : 

We have recently organized a "Jazz Ap- 
preciation Society" in Ottawa and as I am 
president I find your magazine a wonderful 
source of information and news which I 
use to make the club more interesting. The 
club started with just an idea of mine after 
listening to many requests on the radio by 
people who were Ellington fans, and whose 
requests could not be filled by the local sta- 
tion. As we were fortunate enough to have 
about 900 Ellington sides I thought it would 
be nice to have a place where we could 
share our records. 

I met Mr. and Mrs. Gilleland (he is a 
prominent Ottawa architect, and she a lec- 
turer in English at Carleton College). They 
have a wonderful bop or modern music 
collection so we talked things over. The 
Y.M. CA. gave us a room every week and 
we were off. Now — Ottawa is decidedly not 
a jazz town so I did not know how it would 
go ; but the results have been amazing. We 
have a wonderful club with enthusiastic 
people from all walks of life: lawyers, 
architect, radio announcers, teachers, news- 
paper men, etc., and many representatives 
from the high schools and colleges. 

The thing that pleases me most is that 
many parents are coming to learn about the 
music their children love and they are be- 
coming the most enthusiastic. Besides hav- 
ing people who love jazz get together, the 
objective of the club is to be instructive. 
Each week a member gives a talk on the 
band or jazzman he specializes in using his 
own records to illustrate. We have had 
talks on bop, the history of jazz, the blues, 
Duke Ellington, and the march of jazz 
from a musician's point of view. Next week 
we have Stan Kenton and then ... we are 
starting the history of jazz. We are doing 
it by instruments, starting with the trumpet. 
We have a member who has a very fine 
collection of King Oliver and early New 
Orleans trumpeters, so he starts ; then an- 
other on Bix, Louis, Berigan, right on up 
to Dizzy. In that way we'll learn the history 
of each man and hear the records he made 
and also each person will hear at some time 
the kind of music he likes best. 

Our motto is tolerance for each other's 
kind of jazz and the main object is to be 
loyal to jazz and not belittle any phase of it 
just because we do not happen to like it. 
It is amazing how it is working out. The 
bop fans sit and listen patiently to New Or- 
leans or dixieland and vice versa. After the 
one and one-half hour talk we play records 
for the opposite likes. That is, if the talk is 
on bop we play New Orleans, dixieland, 
Ellington, etc., so that each meeting every- 
one goes home feeling that they have heard 
some of the music they like best. 

Mrs. H. D. ANGER, 

Ottawa, Canada 



early days at gennett 



cradle of 



Hangers-on around the Richmond, Indiana, 
railroad station who happened to notice 
the New Orleans Rhythm Kings drop 
off a train there some twenty-six years ago, 
merely thought that another group of travel- 
ling performers was arriving in town. They 
were a rather bedraggled lot, and they all 
carried battered instrument cases. Nothing 
indicated that they were about to write the 
first page in an unusual musical history. 

However, instead of heading for a cheap 
hotel and the boards of a vaudeville theater, 
the newcomers disappeared in the direction 
of a rambling brick plant on the bank of the 
Whitewater River gorge at the west edge 
of downtown Richmond. The factory was 
the home of the Starr Piano Company and 
tucked away in one corner was the tiny 
phonograph recording studio of what the 
firm called its Gennett Records division. 

Once inside the studio, the band — which 
included Paul Mares, George Brunies, and 
Leon Rappolo — unpacked a battered accu- 
mulation of horns and sat down to make a 
series of recordings which shaped jazz 
history. 

The studio, of course, was primitive by 
present recording standards. For one thing, 
the room wasn't sound proof, and just out- 
side was a railroad spur where switch en- 
gines puffed noisily. Every few minutes one 
of the musicians stuck his head out the 
window and yelled for quiet. But despite 
such interruptions, the recording was made. 
It was Sweet Lovin' Man, and it was to be- 
come one of the most sought after of col- 
lectors' items. 



Al G. McCord's article originally ap- 
peared in the Star Magazine of The 
Indianapolis Star, and this adaptation is 
published with their permission. All 
photographs are by Harry Gennett, Jr., 
except the Wolverines photo, which rs 
from Hoagy Carmichaers Star Dust Road, 
published by Rinehart and Company. 
Permissions were arranged by Warren 
Huddlestone. 



adapted from an article by al g. mc cord 



recorded jazz 



In just such fashion did an obscure re- 
cording studio in a small Indiana city far 
from the bright lights of jazzland become 
the mecca for a history-making parade of 
musicians. They were to make the name of 
the Hoosier Gennetts one of the greatest 
names in recorded music and the gold-let- 
tered Gennett label one never to be for- 
gotten. 

Recording had been begun by Gennett in 
1916, but it was more or 'less by accident 
that Richmond became possibly the most im- 
portant early home of recorded jazz. The 
N.O.R.K. session might have been regarded 
as a single instance of humoring a new 
musical fad, if it had not been for King 
Oliver and his band. Only a few weeks 
later, the Creole Jazz Band descended on 
Gennett, uninvited. They were probably sur- 



prised when the Gennetts allowed them to 
make a test recording. But the sides that 
Oliver, Louis Armstrong, Lil Hardin, and 
Johnny and Baby Dodds went on to make 
helped to establish Richmond as a jazz 
musicians' mecca. 

In the decade that followed these initial 
ventures in jazz, countless instrumental- 
ists were to beat a path to the doors of 
the Starr Piano Company. In those days, 
however, Richmondites paid little attention 
to the daily influx of what must have been 
a curious and somewhat out of place group. 
For the musicians were mostly unknowns, 
and the glory they sought was by no means 
as great as the renown they were about to 
achieve. Most of them merely wanted to 
record the fox trots and one-steps of the day 



The Wolverines, at an early Gennett recording date. Left to right: Min Leibroolc, 
tuba; Jimmy Hartwell, clarinet; George Johnson, tenor sax; Bob Gillette, banjo; 
Vic Moore, drums; Dick Voynow, piano; Bix; Al Gande, trombone. 





Above Is the recording room in which Gennett's historic jazz sides were made. Be- 
low is the Starr Piano Company, home of Gennett records, and Harry Gennett, 
Sr. (right), president of the firm. 



so well that royalties would roll in and 
lucrative show circuit and dance contracts 
follow. Even the best of them had no idea 
that they were making musical history and 
that, some day, collectors would pay fabu- 
lous prices for such early-day recordings. 

Obscure artists poured in to the Wayne 
County seat from everywhere. Some came 
in Model T Fords. A few of the more pros- 
perous rolled into town in flashy Stutz Bear- 
cats, Marmons and big Cole eights. But 
most arrived by train or interurban from 
Indianapolis. Their coming sometimes was 
disturbing, for old-timers still recall how 
many a happy-go-lucky musician whiled 
away the time by publicly flouting the Vol- 
stead Act. 

Employes of the old studio recall now that 
many of the to-be greats didn't look or 



sound particularly impressive at the time. 
For instance, the youngsters who came to 
fcive Gennett a sample of their Chicago-style 
dance music were much more nervous than 
their bold name — the Wolverines — would 
imply. 

The Wolverines frequently came to Rich- 
mond on the way to or returning from dance 
engagements at Indiana University or the 
old Casino Gardens on the outskirts of In- 
dianapolis. Among them was a cornetist 
named Bix Beiderbecke who produced much 
better music than his pale complexion led 
listeners to expect. 

Accompanying the Wolverines to Rich- 
mond from Bloomington at times was an 
Indiana University law student who liked 
playing the piano better than studying musty 
legal tomes. Now one of Gennett's distin- 



guished alumni, Hoagy Carmichael remem- 
bers the old studio as a "dreary place . . . 
which didn't soothe me." 

Among the other now-famous names who 
made jazz classics in Richmond were Duke 
Ellington, Fletcher Henderson, Wingy Ma- 
none, Jelly Roll Morton, and Husk O'Hare. 

Varied other items of Americana also were 
waxed at Gennett. William Jennings 
Bryan's "Cross of Gold" oration; sacred 
music by Homer Rodeheaver and Gypsy 
Smith; ditties by Cliff (Ukulele Ike) Ed- 
wards ; It Ain't Gonna Rain No Mo' No 
Mo', by red-headed Wendell Hall, and 
countless other discs that ranged from 
physical culture exercises to Ku Klux Klan 
mouthings. 

But by the early 1930's, the depression 
slowed Gennett's recording business to a 
snail's pace. What little record-making Gen- 
nett did in those dreary days was largely for 
radio. Sound effect records it began making 
then are the only ones still sold under the 
Gennett label. 

However, even though the Gennett label 
is seldom seen nowadays, except among col- 
lections of rare records, the Hoosier record- 
makers are by no means out of business. In 
the last few years Gennett has pressed about 
3,600,000 records annually — as many as the 
Richmond plant ever turned out anytime in 
the past. But all are copies of master discs 
recorded in studios elsewhere. Presently they 
are sold under the labels of a dozen record- 
ing firms. 

Harry Gennett, Sr., 72-year-old president 
of the Starr Company, has no plans to ever 
resume recording. Manufacturing 300 pianos 
and pressing some 300,000 records a month 
is a big task under present conditions, he 
maintains. 

Richmond's staid citizenry probably would 
have raised a furore over the influx of jazz 
musicians had not Gennett been such a fa- 
miliar name thereabouts for so long. 

The British-born grandfather of President 
Gennett, John Lumsden, founded the piano 
company before the Civil War. It is reput- 
edly the first west of the Alleghenies. Gen- 
nett's father, Henry Gennett, had charge of 
the concern when the firm decided to make 
talking machines. Success at that led to 
record-making. 

(Continued on Page 19) 



s 




humphrey lyttleton 

and his band by derrick stewart-baxter 



When the Graeme Bell band left England 
and sailed back to Australia, there were 
many who thought the sound of good 
jazz had left the country with them. There 
were heavy hearts around Leicester Square 
and Piccadilly Circus on that last wonderful 
night. The more pessimistic amongst us 
shook our heads sadly and were heard to 
murmur : "Ah well, it was wonderful while 
it lasted, now we will have to return to our 
record collections and await their next visit 
to England in 1950 — we haven't a band that 
can hope to keep jazz alive." 

A few wiser folk were not so gloomy 
about the prospect of jazz in Britain. "That 
fellow Lyttleton," they assured us, "has a 
very good little combination, and may spring 
a big surprise on all of you yet. He has a 
band that shows great promise." We were 
still doubtful. "Remember how impressed 
Mezzrow, Sandy Williams and Rex Stewart 
were when they heard him play at the Nice 
Jazz Festival?" 



That modest praise has turned out to be a 
great understatement. In a surprisingly 
short period Humphrey Lyttleton and his 
band have developed into one of the greatest 
jazz, combinations in Europe and are im- 
proving every time they take the stand. 

The meteoric rise to fame of Lyttleton 
makes quite a story. From every angle the 
history of this young man is unusual ; his 
background is a far cry from the expected 
Storeyville atmosphere of crime and honky 
tonks at the turn of the century. There is 
nothing in the background of the Lyttletons 
that might have indicated that Humphrey 
would turn into a great jazz musician. His 
family is one of the most ancient and dis- 
tinguished in the country. However, Hum- 
phrey does admit to one ancestor with a 
nickname which could have belonged to a 
blues singer and which is reminiscent of the 
old Paramount label : "Naughty Tom" 
Lyttleton, a celebrated rake of the 18th 
century. As for the crime and violence asso- 



ciated with the clip joints and barrel houses 
of jazz fame, Humphrey can boast of little 
of that in his ancestry, although a Sir 
Humphrey Littleton was hung, drawn and 
quartered at Guildford after playing an ig- 
nominious part in the Gun Powder Plot. 

Unless one may count Humphrey's father, 
a master at Eton, who used to play the 
'cello "very badly," one is forced to the con- 
clusion that Humphrey's talent is not heredi- 
tary. He owes none of his musical ability to 
his family. On the other hand, Lyttleton's 
fame has helped at least one of his relations. 
The Honourable Charles Lyttleton, heir to 
the 9th Viscount Cobham, was once given 
an "off the ration" meal in a Birmingham 
hotel, on the strength of being Humphrey 
Lyttleton's first cousin. The waiter was a 
jazz fan! 

The jazz bug bit him at Eton, but after 
leaving school Lyttleton obtained a com- 
mission in the Grenadier Guards, with 
whom he served throughout the war, and 



9 



during those troubled years the opportunities 
for playing- were, of course, strictly limited. 
Whatever spare time he had was spent in 
the numerous little clubs, dotted about the 
West End of London, that featured jazz. If 
the music was hot and righteous, it was a 
safe bet that Humphrey would be along to 
hear it. However, listening to others was not 
enough. His object was to play with these 
bands, but it is difficult to persuade a band- 
leader that one is a jazz musician when one 
is dressed in the uniform of a Guards offi- 
cer! It was always amusing to watch the 
expression on the face of some musician 
when Humphrey finally persuaded him that 
he was in earnest about wanting to play. It 
was even funnier to see the look of amaze- 
ment and delight when a superb chorus of 
Sister Kate or Royal Garden Blues hit the 
ear. 

It was not until the end of hostilities that 
his first real break came. He had the chance 
of joining George W ebb, who was looking 
for replacements, having decided to revert 
to the traditional New Orleans front line of 
trumpet, clarinet and trombone. The W ebb 
group was then the outstanding jazz band 
in England. Playing with George at that 
time were Wally Fawkes, a clarinet with a 
Bechet-like attack, and the biting, sour tone 
of a Dodds ; and Harry Brown, a young 
trombonist in the "tailgate" tradition of Ory 
and Jim Robinson. 

W r ith these two young men Lyttleton 
found the inspiration and support he needed, 
and it was not long before the name of 
Webb's new cornet man was being men- 
tioned in the places that mattered. To critics 
and fans alike, this was the greatest period 
in the career of the Webb band; but it was 
not to last. Gradually differences arose over 
policy, and after some weeks of tension 
among the players, Webb decided that it was 
no longer possible to keep the band together. 
The first week of January, 1948, saw the final 
concert at the St. Georges Hall, London. 
It was at this time that Humphrey decided 
not to let the fine front line break up. 
Heartened by the success of the Bell band, 
he formed his own band, taking Fawkes and 
Brown in with him. The problem was to 
form a suitable rhythm section. British 
rhythm sections have never been first class, 
but from those who had the necessary quali- 
fications, Humphrey chose Nevil Skrim- 
shire, guitar ; Pat Hawes, piano ; John Rob- 
inson, drums, and Les Rawlings, bass ; all 
young and promising musicians with a de- 
sire to play the real thing with no pandering 
to cheap commercialism. 

From the start the band was a success, 
and it was not long before they were shar- 
ing dates with Graeme Bell at the Leicester 
Square Jazz Club and helping to make jazz 
a paying proposition in England for the first 
time in this country. 

The band was far from perfect at this 
early point in its career ; there was a certain 
raggedness in the front line and the rhythm 
section. Still the jazz they made was excit- 
ing and the promise of things to come was 
plain. Humphrey himself became more con- 
fident with the passing of time; he began to 
create his own jazz, and rely less and less 
on Armstrong solos. The solos he created 
became better, hotter and more disciplined 




and all the time his tone and ideas improved. 

Lyttleton's fame began to spread, and in 
quick succession came invitations to repre- 
sent England at French and Belgian Jazz 
Festivals. It was at Nice that Humphrey 
scored his greatest artistic triumph. Lyttle- 
ton, in a group of musicians specially chosen 
to represent Great Britain, was outstanding. 
He held his own among such distinguished 
musicians as Louis Armstrong, Mezz Mezz- 
row, Rex Stewart, Earl Hines, Sandy 
Williams and Jack Teagarden. Rex Stewart 
in particular was very impressed with the 
young Englishman, and Humphrey is justly 
proud of the Festival program which Rex 
signed with these words : "I am very sin- 
cere when I say I consider you one of the 
great cornets of all time." 

Broadcasts followed, and then came the 
chance for which the boys had been waiting 
— The London Jazz Club — formed by two 
London business men, Stan and Bert Wil- 
cox. Jazz collectors for many years, they 
had always wanted to bring jazz to a wider 
public. Encouraged by the success of the 



Leicester Square Club, they decided to form 
one of their own. Both the Lyttleton and 
Bell bands were signed up and every Satur- 
day night the sound of New Orleans music 
could be heard drifting through the open 
doors of the London Jazz Club. In less than 
four months the membership reached 1,500, 
and is still going up. 

Pat Hawes has now been replaced by 
George Webb on piano and Dave Carey is 
playing drums in place of John Robinson. 
Carey is the British drummer who played 
for a while with Graeme Bell and, in the 
opinion of many, is the best jazz drummer 
in England. These two musicians, in the 
short time they have been with the band, 
have brought new drive to the rhythm sec- 
tion, which now really swings. The front 
line, provided with a solid background, is 
playing better than ever. 

In Lyttleton England seems to have a leader 
with original ideas, who is determined not 
to stand still ; progress within the New 
Orleans framework is his aim. He believes 
that development is possible without destroy- 
ing either the spirit, or the character of the 
music. 

Early in May the band cut a few sides for 
the Tempo label. Only two titles have been 
issued so far: Careless Love/When the 
Saints Go Marching In. Careless Love con- 
tains some beautiful clarinet by Wally 
Fawkes and Saints has typical Lyttleton 
cornet, but on the whole the sides are not 
really representative of the band as it is 
today. Webb and Carey had not joined the 
band when these records were made. 

The future of jazz outside the United 
States seems bright, with such bands as 
Claude Luter, Graeme Bell and Humphrey 
Lyttleton able to hold their own with any 
group in the world today. 



Opposite page: Humphrey Lyttleton and Wally Fawkes. Below: Left to right — Les Rawlings (bass); 
Dave Carey (drums); Harry Brown (Trombone); Humphrey Lyttleton (trumpet); George Webb 
(piano); Wally Fawkes (Clarinet); Nevill Skrimshin (guitar). 




10 



by joe and cecile madison 




n d there 



Collectors interested in foreign trading 
should be extremely careful in their 
choice of friends. Of course, friends 
with a well-stocked wine cellar are handy, 
and friends who own many of the rare old 
records and don't mind sharing them are 
worth having, but there is another prerequi- 
site. Be sure they can read and write a for- 
eign language. 

Letters arrive from many of the South 
American countries which begin, "Estimada 
sefior y senora," and continue in beautiful, 
flowering Spanish. The collector with fore- 



sight then reaches for the phone and calls in 
one of his Spanish speaking friends to in- 
terpret and respond. Food is rushed out, a 
bottle of the best bourbon dusted off and 
the red velvet carpet is unrolled. This goes 
on for some time while letters rush back 
and forth between the continents. About six 
months later, the South American contact 
ends one of his epistles with : "Incidentally, 
if you would prefer writing in English, just 
tell me. Your Spanish is so flawless I never 
thought to mention it, but either language is 
agreeable to me." The collector puts his 
head in his arms and weeps. 



collectors 



Purist 



Atomic Age 
Collector 
The Whole Collection 
on a Spool of Tape 




Impartial 



He's Got Everything 
Except a Phonograph 



next month: "PACKAGES" 




Collectors fortunate enough to make a con- 
tact in Chile should get copies of the 
Chile Aces of Jazz on Chile Victor 60- 
000 series. Rosetta/Copenhagen, and Dark- 
town Strutters Ball/Jaas Me Blues. Some 
good trumpet work by L. Aranguiz will 
cause you to pull out a couple of records 
to make room for these. 

Correspondents in Uruguay might run up 
to the Son d'Or Company and have them 
press up a copy of the Pasquet Menendez 
Band. (They do this in Uruguay.) The best 
tune titles are Bailando en Dixieland/ La 
Bruja en la Escoba. 

Of course, a friend in Argentina can find 
some Sincopa y Ritmo labels for Dixieland, 
or the bands of Hamilton- Varella, Ahmed 
Ratip and the Buenos Aires Cotton Pickers, 
Panchito Cao, Barry Moral, etc. 

One of the best to come out of Argentina 
is Hector Lagna-Fietta and His Dixieland- 
ers doing Buddy's Habits on Sincopa y 
Ritmo No. 2. Lagna-Fietta emulates Larry 
Shields of the ODJB on O.D. One-Step, 
Odeon 23054. Pibes Paz, clarinetist, stands 
out on both of these records. 

Argentina also offers the previously un- 
issued Louis with Carrol Dickerson Or- 
chestra doing Symphonic Wraps/ Savoyag- 
ers Stomp. The latest jazz release from 
Argentina is Especial para baile, by Varela- 
Varelita on Ft 60-1645. 

Before leaving South America it should 
be noted that the Chile Jazz Club Dixieland 
Band is to start shortly waxing on their 
own label. Just recorded on limited edition 
were Canal St. Blues/Clarinet Marmalade. 

Across the world in Sweden, Baroftet 
label is currently issuing Doc Evans, 
Muggsy Spanier, Lennie Tristano, Pee 
Wee Russell, and several others. Current 
releases this month consist of a Peanuts 
Holland on Sonora 672, Put 'em in a Box; 
Svend Asmussen Sextet on Od. 5381, 
Woody Woodpecker and a Thor Jederby 
Sextet on Od. 5373, while the Jederby Quar- 
tet does Fine and Dandy, Od. 5374. 

We are sorry none of these records have 
arrived for review, but we feel we can't 
go wrong in recommending any of Thor 
Jederby's recordings. His work originally 
came to our attention when Jederby was 
recording on the Swedish Scala label and 
we considered it about the- best of Swedish 
jazz at the time. Sweden has done a lot for 
jazz since then, but if you can get a copy 
of Thor Jederby's Sextet doing Blue Lou 
on Scala it will be well worth the trouble. 

Our thanks to Kurt Mohr of Switzerland 
for sending us a New Rhythm Kings on 
Swiss Parlo 35544 recorded in Geneva. 
Bimillenaire Blues/ Arret Facultatif show 
the Swiss dixieland off to advantage. A 
(Continued on Page 18) 



ii 



n 



LI 1U L 



in the ranks 



by sidney finkelstein 



One of the sad aspects of the jazz scene of 
today, compared to that of a decade ago, 
is the dissension among its followers. 
Then, although there were varying tastes 
and points of view, it seemed as if jazz 
lovers were a united band of young Davids 
out to battle the sweet and commercial 
Philistines. Today divisions reign. There are 
three camps, as if each stage of jazz, that 
of the 'twenties, the 'thirties, and the 'for- 
ties, had created a permanent band of 
brokenhearted followers. And the first and 
last, especially, speak a different and mu- 
tually antagonistic language. There is as 
much difference between them as there once 
was between the followers of hot jazz and 
sweet. 

It may seem as if the two post-war ex- 
treme, bebop and the New Orleans revival, 
are mainly responsible for the division, but 
actually the cracks in the ice began to ap- 
pear in the late thirties, almost at the 
moment when the battle for hot jazz seemed 
to be won. One of its signs was the break 
between Gene Williams, who edited Jazz 
Information, and Steve Smith, who ran 
HRS. Smith reissued ten rare Bix sides, 
which Williams denounced as bad music, 
and then Williams denounced Smith's 
Spanier-Bechet discs as semi-commercial. 

Looking back now, we can see in 
Williams' stand the beginning of the New 
Orleans revival. He was absolutely sincere, 
but sincere with the fanaticism of Carrie 
Nation wielding an axe in the saloons. And 
indeed, it was in this spirit that he walked 
about the living jazz scene of his time. He 
set himself the task of asserting the 
values of the old jazz, the great New Or- 
leans jazz which had tended to be weakened 
in the smooth patterns of Dixieland and 
forgotten in the rise of the swing bands. 
His magazine did noble service in establish- 
ing the merits of the Jelly-Roll Morton 
records, the Johnny Dodds records, and 
others which had been treated lightly by col- 
lectors looking only for Armstrong solos. 
He pointed out the beauties of folk blues 



records, worthy of attention even though 
there were no famous names taking trumpet 
choruses on them. But in fighting for the 
rediscovery of the grass roots of jazz, he 
felt that he had to cut down everything that 
seemed to interfere, so that Ellington, Bix 
and Tesch had to be "debunked," and 
Basie sneered at. 

We can today be indulgent of his one- 
sidedness, which seems to be almost his- 
torically inevitable in its struggle to estab- 
lish a new critical point of view. What is 
unfortunate in the present situation, how- 
ever, is that the admirers of the old jazz 
have continued his fanaticism. Sometimes 
they don't even compensate with his discrim- 
ination and taste, and feel that every per- 
formance of Muskat Ramble must be de- 
fended as great and righteous music. It is 
not the intention of this article to argue for 
the "new jazz," but only to point out the 
contradictions that have beset both camps, 
old and new. And it seems to me that both, 
in their embattled state, have lost much 
critical judgment. 

It is wrong, and a sign of desperation, for 
instance, to call every new band that plays 
King Oliver favorites or Scott Joplin rags 
a "great band." The history of jazz has 
given a very definite meaning to a "great 
band." It is a band which, like King Oliver's, 
carved out its own music, something that 
was new, and yet at the same time the voice 
of the people. There is not only a historical 
difference between a performance of a 
number by the band that made it up, and 




one by a band which affectionately follows 
the old patterns, but also a musical differ- 
ence. In the old performances, and some- 
times in current performances by bands like 
Ory's, which draw on a rich heritage of 
memories, there is a humor, an excitement 
that comes from the manner in which ideas 
are thrown out by one instrument, picked 
up and carried on by another, a constant 
unexpectedness and surprise, an inner logic. 
All of this tends to disappear in the later 
sedate and respectful performances, whether 
they stick to the old music note for note, or 
reshuffle it to give the impression that they 
are "creating." The music can still be very 
good to hear. But, for instance, where in 
the Luter band's playing of a King Oliver 
piece is anything comparable to the wonder- 
ful breaks by Oliver, Armstrong, Dodds and 
Dutrey, which gave the old performances so 
much fire? 

There is no getting away from the fact 
that, in the best jazz sense of the words, 
the contemporary "great bands" are those 
(like Ellington's, Basie's and Gillespie's) 
which carve out a music all their own, just 
as their New Orleans predecessors did. This 
is entirely apart from the question of 
whether the old music or the new is better 
jazz. There is plenty of room for argument 
along this line, just as one can argue the 
respective merits of various periods of 
classical music, or literature. And the preser- 
vation of the old music, keeping it alive and 
remembered, is a most valuable task. It 
serves as a check upon the new, a measure- 
ment of value, which some of the more 
flighty-minded apostles of the New .seem to 
fear and resent. But this appreciation of the 
past cannot minimize the special quality of 
a new music : the sense that the emotions 
expressed are those which the listener him- 
self may be feeling ; the ability to go to a 
performance never knowing just what one is 
going to hear, but always hoping that at 
one point or another jazz history will be 
made. And sometimes it is. 



12 



It is this that accounts for the absence of 
musicians in the audience at a New Orleans 
or Dixieland affair, and the presence of 
musicians at a performance of the new 
music. The inner spirit of the old King 
Oliver and Fletcher Henderson days, when 
both trained musicians and youngsters would 
gather about the bandstand, drinking in new 
ideas and hoping to sit in, has certainly 
passed to the new jazz. 

One aspect of the defense of the old jazz 
is absolutely reprehensible. That is the 
spreading of the notion that "new jazz" is 
a product of alcohol and marijuana. It takes 
little knowledge of the history of jazz to 
see that this is the same old stereotype that 
has been applied to jazz at every stage. It 
has been the old standby whenever someone 
wanted to take a pot-shot at jazz, from 1917 
on. Some day, perhaps, a social history of 
jazz will be written, describing the condi- 
tions under which jazz had to grow up, 
from Storeyville, the Chicago speakeasies, 
the life and death of Bix, to the New York 
night clubs. But the sometime degeneracy of 
the surrounding atmosphere is not the inner 
meaning and content of jazz, but only its 
often harrowing limitations. And it is 
always the old jazz that is suddenly hailed 
as "pure," while the stereotyped stigma is 
shifted to the new. 

If the lovers of the old jazz have their 
troubles and contradictions, so have those 
of the new. Certainly the utter contempt 
expressed for the old, the desire to wipe out 
its memories, is nothing more than a de- 
fense. Perhaps it stems from a fear of the 
high standards of great music set in New 
Orleans. And the chief danger of the new 
jazz is the emphasis, among its critics and 
backers, on technical perfections. The result 



is that the hot music begins to merge by 
imperceptible degrees into the commercial, 
the commercial begins to disguise itself as 
hot, and the essential character of great 
jazz, its play of imagination, its human 
warmth and exploration of feelings, is di- 
luted and lost. It is a fine thing to appre- 
ciate technical mastery of the instrument 
and of music. One can see why musicians 
like this kind of criticism ; it is their shop 
talk. But to rest criticism entirely on such 
a basis is too easy. It is furthermore the 
standby of the academic and commercial 
musician, who likes to believe that the art 
of music is something that can be as easily 
set down as a problem in arithmetic. Too 
much criticism in modern jazz caters wholly 
to the musicians, instead of discriminating 
and encouraging their best work. 

Further fouling the picture is the presence 
of some self-appointed "authorities" on 
modern jazz, who are engaged at the same 
time in the wholesale manufacture or spon- 
sorship of records, and the writing of blurbs 
or publicity for musicians. I am not talking 
about the enthusiast who puts out a little- 
company label, in order to put some good 
jazz on records, but about prolific writers, 
such as Leonard Feather or Dave Dexter, 
who are also connected in one way or an- 
other with quantities of records, more often 
than not mediocre. It is understandable to 
want to make a living from records, but to 
offer oneself at the same time as an impar- 
tial theorist, critic and judge is hardly hon- 
est, or helpful to the jazz-lover. If what the 
old jazz needs most is more perspective, tol- 
erance and knowledge, less of a messianic 
and crusading complex, what the new jazz 
needs most is a comprehensive and discrim- 
inating body of criticism, separating the 



wheat from the chaff, encouraging the 
musicians' best work, giving an honest and 
workable guide to its bewildering quantity 
of production. 

I think that this could be a basis for a 
badly needed peace in the ranks of jazz 
lovers : the recognition by the lovers of 
the old music that sweeping theories about 
"true jazz," "real jazz," the "only jazz," are 
foolish, and that both musicians and listen- 
ers can legitimately want qualities which 
the old jazz doesn't contain; and the recog- 
nition by lovers of the new that jazz has a 
long and wonderful tradition, which it pays 
to know. A sensible knowledge of the past 
would help in providing a more sound point 
of view and a better perspective from which 
to appraise the qualities of modern jazz. 

We badly need peace and unity. The dis- 
sension and hostility in jazz ranks serve 
only to do harm to both the preservation of 
the old jazz and the encouragement of the 
new. Critical writing degenerates into attack 
and defense, sneer and justification. Devo- 
tion to good music is replaced by adherence 
to a clique. 

With unity among jazz fans who have no 
axe to grind, long overdue tasks could be 
taken up. One would be the organization of 
a body of jazz lovers, on a nation-wide 
basis, willing both to know the traditions 
and to encourage new musicians. If such an 
organization can get started now, it can be 
the force which will persuade the record 
companies to reissue some several hundred 
old discs, as a permanently available history 
of jazz. It can produce from its ranks some 
first-rate, impartial criticism. It can give 
musicians who are eager to play their best 
the backing they need. 



The Old and 
the New: 




Louis and 
the Bird. 





13 




an 



attack 



on 



c 



ntica la bbe rwocky 



by charles delaunay 



Tn an age that breeds mixed sentiments like 
I hybrid corn, it may not be inappropriate 

to admit to a mixture of distress and 
amusement in finding oneself whipped for 
someone else's sins. Bucklin Moon, for 
reasons of his own which don't become 
very clear in the course of his review, de- 
cides to slaughter the poor old Discography 
after some years of humble service to the 
faithful. What he wants, Mr. Moon says, 
is a bigger and better jazz index. Well, 
maybe. If Mr. Moon had joined the many 
other collectors who helped to make the 
Discography what it is, he might have made 
a better book of it. To complain about it 
after the fact won't be of much help till 
the next edition comes along. 

But Mr. Moon neither distresses' nor 
amuses me very greatly, and there would be 
no reason to take pen in hand if Rudi Blesh, 
in the same issue, had not decided to make 
a fool of Mr. Moon by sneering at the 
Discography and such friends as it has, in- 
cluding Mr. Moon and myself, by relegating 
us to the lunatic fringe. . . . 

I am not going to play Mr. Blesh's silly 
game of creating a fancy aura of sincerity 
and objective criticism around his business 
of promoting one kind of jazz ; if I happen 
to like Louis Armstrong or Dizzy Gillespie 
I shall say so. If I don't happen to like 
Bunk Johnson or Illinois Jacquet, I shall 
also say so. But to surround one's likes or 
dislikes with unacknowledged quotations 
from Bill Russel, Ernest Borneman and 
Gene Williams, and to vulgarize their argu- 
ments as a fight to the death between New 
Orleans jazz (the shining hero) and be- 
bop (the mustachio'd villain) strikes me as 
arrogant and dishonest. 

Let me quote chapter and verse : 

1. Mr. Blesh says: "The modernity of 
New Orleans music can be — and has been — 



proven musically beyond the possibility of 
refutation." The meaning of this sort of 
jabberwocky escapes me. It is bad enough 
to have the be-bop apostles talk about their 
music as "modern" or "progressive" instead 
of saying simply that it is original ; if Mr. 
Blesh now falls into the same trap, he 
shows merely that he is the opportunist we 
have suspected him to be all along. New 
Orleans jazz was an exciting, vigorous 
music when it was first produced. But it 
was no better than the musicians who pro- 
duced it. Mr. Blesh's myth of New Orleans 
jazz as some kind of abstract phenomenon 
has no more reality than the disembodied 
myth of the all-mighty state, or the "mod- 
ern" state, or other such dehydrated entities. 

2. "The necessity ... of having to go 
back to rediscover a music and to discover 
its modernity, has stamped New Orleans 
criticism (in the minds of shallow people) 
as a reactionary process." Here Mr. Blesh 
is building up a wall in order to run it 
down. No one ever accused "New Orleans 
criticism" of any such thing ; the accused 
was Mr. Blesh himself. And what he was 
accused of was not "the necessity of having 
to rediscover New Orleans "jazz" but his 
praise of bad musicians who were his 
friends and his attack on good ones who 
wouldn't record for him or play his radio 
show. Let him not confuse the issue by call- 
ing blame on the heads of other critics who 
have labored more honestly in the New 
Orleans vineyards. 

3. "The cleavage between modernists and 
adherents of New Orleans jazz ... is no- 
where better illustrated than by the final 
break of Charles Delaunay from his erst- 
while master, Panassie. Only last year when 
Delaunay was in America, he was still the 
faithful disciple singing the master's 
praises." This is rubbish. No one but Panas- 



sie himself would maintain that his attempt 
to wrest control of the French Hot Club 
movement, the physical premises of the Hot 
Club de Paris, and the Swing , label away 
from those who had started it, had anything 
to do with musical criticism. It was a story 
of power politics, pure and simple, in which 
he exploited the faith and the loyalties of 
the French musicians and the French jazz 
lovers. There was no master-pupil relation- 
ship between us at any time. We started to- 
gether to promote jazz in France, and we 
stopped working together when Panassie 
decided to exchange the cause of music for 
the pursuit of business. . . . 

4. "But there was no place free of Panas- 
sie's huge shadow for him to go except to 
be-bop. And so to be-bop he goes and, to 
justify his move as well as his own critical 
shortcomings, he now condemns all criti- 
cism and all critics." This reads like comedy 
in France, where ... all musicians know 
that it was I and not Panassie who first 
"discovered," promoted or recorded Claude 
Luter, Claude Boiling and Graeme Bell in 
France while Panassie, in the splendid iso- 
lation of his southern castle, ignored them 
in favor of the second-rate American jazz- 
men who had been his friends and mentors 
before the war. 

To think of Panassie as a' New Orleans 
advocate and of myself as a be-bop fan 
is so silly that it would need no refuta- 
tion in France. But for the sake of bridging 
the Atlantic, it might do no harm to say a 
few more words about musical criticism in 
this country. 

Panassie first learned about jazz from 
Mezzrow and the Chicagoans. His first book 
was largely an apology for Chicago jazz 
spiked with special plums of praise for 
those musicians who were his beloved 



14 



friends and with special blobs of acid for 
those who were their enemies. His second 
book was little more than a reflection of 
Mezzrow's quarrel with the Chicagoans and 
Mezzrow's new friendship with Bechet and 
some of the New Orleans old-timers. The 
curious contradictions in Panassie's writings, 
which have always baffled you in America, 
are nothing more, and nothing less, than an 
indication of Panassie's succession of friend- 
ships with those American musicians who 
happened to drift over to Paris. He used to 
ask them for their preferred musicians, and 
whatever information they gave him would 
come out the day after as musical criti- 
cism over Panassie's signature. If Hugues 
had made more friends among be-bop musi- 
cians, we would long have had a new 
"courageous correction" of his previous 
"stand" on Chicago jazz or New Orleans 
jazz or whatever it was that his current 
friends happened to believe in. To think of 
Hugues as a jazz critic therefore seems to 
us over here like thinking of a weathervane 
as a critical instrument. 

5. The success of the New Orleans jazz 
revival "can be measured by the number of 
young bands, devoted to the New Orleans 
idea, that are springing up all over the 
world, and by the success with which they 
are meeting." This reminds me of a phrase 
which James Agee used in reviewing James 
Cagney's film version of "The Time of 
Your Life": "Arrogant determination to 
tell damnably silly lies in the teeth of the 
truth." For the truth is that be-bop is what 
the young musicians are trying to play, in 
his country as well as in U. S. A., and that 
bands like Claude Luter, Claude Boiling 
and Bob Wilber are in a diminutive mi- 
nority. The fact that Mr. Blesh happens to 
like Boiling or Wilber as much as I do 
should not blind us to the fact that our taste 
does not coincide with that of the over- 
whelming majority of young jazz musicians 
the world over. What's more, there appear 
to be no young Negro musicians among the 
New Orleans revivalists. To find Mr. Blesh, 
the old advocate of racism in music, sud- 
denly "joining the liberals" in a great fan- 
fare about "the young bands" (all white) 
who are just about twenty years late in 
catching up with the Negro pioneers, is, to 
say the least of it, a little comic from the 
spectator's point of view. 

6. "The crying need now is to realize that 
going back is only one step ; that learning to 
play as Oliver and -Morton did, and Ory 
does is only the beginning. . . . Bands to- 
day . . . should learn to sound as these 
giants would sound if alive today, and, 
above all, as they themselves should." Here 
Mr. Blesh reveals himself as the doctrinaire 
again. "Should" is a pretty word; but the 
fact is that many talented musicians who 
didn't grow up in New Orleans have tried 
for twenty-five years and more to imitate 
the New Orleans musicians and have failed 
all along the line. 



True, New Orleans jazz was such a mag- 
nificent music that even the imitators to- ■ 
day may give us great enjoyment. But 
to expect originality of them is like expect- 
ing a work of art from a copyist in a 
museum corridor. "The solemn pronounce- 
ments of the amateur anthropologists about 
social forces that no longer exist, can be 
dismissed as so much rubbish," says Mr. 
Blesh. "Jazz, its players, and those who love 
it seem never to have heard of anthro- 
pology." They may never have heard of it, 
but they behave as if they had. I am no 
anthropologist, and I do not wish to make 
solemn pronouncements, but I have more to 
do with the working jazz musicians in this 
country than anyone else, and I can assure 
Mr. Blesh that he is talking through his 
hat as far as France is concerned. We have 
some excellent musicians playing in the New 
Orleans style, but they are completely' out- 
numbered by those who are trying to play 
bop. That the same holds true in America 
is obvious enough to demand no amplifica- 
tion from my side. Tacitly Mr. Blesh ad- 
mits this himself when he says : "The im- 
passe today is the momentary pause between 



steps." The "momentary" impasse now has 
lasted longer than a quarter century and 
Mr. Blesh's arrogant determination to tell 
damnably silly lies in the teeth of the truth 
will make no difference to that painful fact. 

To sum up : New Orleans jazz was one 
of the high spots of American music. Most 
of what Mr. Blesh has to say in its defense 
is true. Mr. Blesh may even succeed in find- 
ing enough old-timers and youngsters to 
give a fair imitation of the old glory and 
earn a good living' for himself as concert 
promoter, radio broadcaster and operator of 
a recording company. But to pass off his 
publicity dope as honest musical criticism 
borders on the preposterous, and his attack 
upon the few critics who have not yet 
soiled their hands is, to put it mildly, in 
very poor taste. If I today refuse to act as 
a critic and prefer to serve as a discogra- 
pher, it is because I am myself active among 
musicians ; when Mr. Blesh will follow suit 
and make up his mind whether he wants to 
be a promoter or a critic, we may once 
again begin to consider him with the respect 
he deserved before he began playing both 
ends against the middle. 




"One with a Wide Vibrato Please" 




GEORGE AVAKIAN 
BUCKLIN MOON 
PAUL BACON 



records 
noted 



Reverend Kelsey 

Little Boy 

Lord Send the Rain 

Tell Me How Long 
Evening Prayer 

Wow ! 

Sock, bam, zowie ! ! 
Wheeeeee ! 

If this isn't some of the greatest stuff ever 
put on wax (which is a foolish question if 
I've ever asked one, and I've asked plenty), 
I will throw in my towel for once and for 
all and buy nothing but Decca's 57 R.P.M. 
cylinders. (This is a rumor that I am start- 
ing to get back at all the people who found 
out about Columbia's 33-speed LP's and 
Victor's 45-rev. disc before I did.) 

Now, look. As soon as you finish this 
page, or sooner than that if you can tear 
yourself away, you go out and get yourself 
the first record at least. Get the other one 
too, if you have the money or can leave a 
gold filling with the shopkeeper. 

Reverend Kelsey is the greatest, and his 
congregation is just too much. The stuff 
was cut in a church in W ashington by some 
outfit called Disc-o, and sold to MGM. I'm 
told it sells like mad down south, but that 
doesn't stop it from being marvelous. 

Little Boy (referring to the 12-year-old 
Christ child) breaks into a rash of singing 
that is easily the finest, swingingest, and 
most moving ensemble sound I have ever 
heard recorded by a singing group. Thirty 
bucks' worth of The Messiah has nothing on 
the last half of Little Boy. Maybe Handel 
needed some hand-clapping, an untuned 
piano, and a trombone player who couldn't 
do a damn thing but slide from C to F. 
(Oh, boy! But can that trombone player 
slide from C to F !) 

Tell Me How Long (no relation to the 
Leroy Carr blues) is similar to Little Boy, 
and is not quite so good. It is only the sec- 
ond best record of its kind that I ever heard. 
livening Prayer is almost ordinary. 

Graeme Bell and His Australian Jazz 
Band 

Shim-me-sha-wabble 
South 

Big Chief Battle Ax 
Yama Yama Blues 

By now it should be no news to most of 
you that I'm no lover of Dixieland, but if 
we must have it I muchly prefer the Aus- 
tralian product to just about everything that 



is being dished out these nights below 
Fourteenth Street. The records of Graeme 
Bell are no longer news but I must admit to 
liking these as well as any I've heard thus 
far. From me, pal, that's good. They ain't 
my dish but they might be yours. 

I'll say this for the band : they sound like 
no one else, or a little more accurately, like 
everybody else scrambled together. On the 
South side, for example, they sound not too 
unlike Mr. Lu Watters and His You Too 
Can Be a Metronome (Ed.: DON'T USE 
THAT WORD!) Band and on some others 
I've heard they sound a little like the short 
pants version of some of the records put to- 
gether by the Barefoot Boy in the French 
Shriner and Urner Shoes, Mr. Eddie Con- 
don. But the point is that they do it in 
snatches rather than by carbon paper, a not 
unpleasant way of doing things for my 
money. 

And by the way, it's also nice to find that 
only one of the four sides has been done to 
death. Of the lot I like the old Clarence 
William's standby, Yama Yama Blues, the 
best, with South pushing it. But I have just 
acquired from the local a SPCA for $1.00, 
an eight months old Great Pyrenees which, 
since she is about the same size, we have 
named Babar, and she has a passion for Big 
Chief Battle Ax. So I guess maybe I'll be 
converted yet. To Bob Weinstock I suggest 
she merits about four pounds of top round, 
for her a mere appetizer. (Jazz Corner $1.05 
each) 



Tadd Dameron Sextet 

The Chase 
Dameronia 

There's a funny thing about this record ; 
Tadd is one of the smoothest operatives in 
the business, personally as well as musically, 
and he is chiefly preoccupied with the com- 
plexities of spund. instrumentation and beat. 
Hot jazz means little to him ; (hot, that is, 
in the sense that the Chicagoans played hot) 
so it is interesting that one of the hottest of 
all the modern records happens to be The 
Chase. It isn't just a matter of velocity, since 
there are many sides faster than this. The 
excitement is the same kind that was gen- 
erated, for instance, by Red Allen's band on 
Swing Out. Largely responsible is Fats 
Navarro, who has rarely played with such 
impressive ease and power, nor have many 
other men. This is his best record. I consider 
myself lucky to have heard him as good as 
this, once, in person. Fats is the only one who 
can offer Dizzy real competition, although 
their conception differs considerably. Fats 
plays as if he were brought up on Louis 
Armstrong, and probably was, but there is 



hardly a trace of anything previous to 1936 
in Dizzy's style. 

This same group made the recent Squirrel/ 
Our Delight, and the four sides are the best 
possible reason why I regret that it (the 
sextet) had to be so fleetingly in existence. 
As far as I'm concerned, it was one of the 
best, one of the cleanest and most profes- 
sional, that ever played bop, without sacrific- 
ing a whit of feeling or imagination. 

Dameronia is a sprightly number, like 
many of Tadd's other compositions, and the 
band is good on it, too. It doesn't attempt to 
produce the power that The Chase does, but 
again Fats is a standout with a rich, warm 
solo. 

Fine work is also to be heard, on both 
sides, by bassist Nelson Boyd (now with 
Dizzy), alto-man Ernie Henry (ditto) 
drummer Shadow Wilson (now with Basie) 
and tenor-man Charlie Rouse (also with 
somebody, but I can't remember who). 
Blue Note 541 (P. B.) 

James Moody and His Bop Men 

Tropicana 

The Fuller Bop Man 

By now, enough has been written about 
Chano Pozo's death to make any further 
comment from me unnecessary. He was a 
strange fellow, and probably the best bongo 
and Congo drummer of them all, as his few 
records will testify. He probably contributed 
as much as anyone else to the permanent 
inclusion of Afro-Cubano rhythm in modern 
music, simply by being so good at it that it 
'was almost irresistible. Here he's coupled 
with my favorite drummer, Art Blakey, and 
they, with Nelson Boyd's bass and Hen 
Gates's piano, comprise one of the most dy- 
namic rhythm sections imaginable. 

Tropicana is more Cubano than Afro, 
played at a heavy rhumbaish tempo, with 
powerful bongo work by Chaho, and with an 
unusual sound being produced by the big 
band (9 pieces). Walter Fuller did the ar- 
ranging, and I think it may grate on some 
ears because it's pretty intense, what I think 
of as a dark sound, due in part to Cecil 
Payne's lusty baritone, but mostly to the 
exceptionally close scoring. Moody, the 
leader, is one of the most popular tenor men 
around, right now, due to his work with the 
Gillespie band. He has Y f fairly economical 
style, compared to someone like Charlie 
Ventura, but everyone likes him because he 
can blow. This side doesn't let him really 
take off, but he is plenty effective. I like the 
flighty, delicate piano by Gates, too, but it 
is the fine Cubano beat that stands out. 

On the other side Blakey is replaced by 
Teddy Stewart (currently with Dizzy), who 
has something of the crispness of T. C. 
Heard and a good beat, and Chano is absent. 



16 




By Albert J. McCarthy 



a discography of ward pinkett 



This discography is a supplement to last month's biography of this comparatively 
little known trumpet great. Most of the details on Pinkett's records are taken from 
the old Jazz Information and the Record Changer. The Willie Gant records were 
mentioned by Harry Cooper. 



willie gant and his orchestra (|924) 

(unknown personnel but including ward pinkett) 

static strut columbia ? 

someday sweetheart columbia ? 

paradise stomp columfia ? 

(there may be other titles) 
jelly roll morton and his red hot peppers 

ward pinkett (tpt); geechy fields (tbne); omer 
simeon (clar); morton (piano); tommy benford 
(dms); bill benford (tuba); lee blair (banjo) 
recorded new york city, june ii, 1 928. 

GEORGIA SWING(456l9) VI 38024, bb 5|09,85|5, 

hmv jf 10 

KANSAS CITY ST0MPS(45620) VI 380lO,BB 5i09,7757 
SHOE SHINERS DRAG(4562|) VI 2|658,BB 5707,7725 
B00GAB00(45622) VI 380lO,BB 6031,7725 

TR I 0 1 TRUMPET PIANO AND DRUMS. 

HONEY BABE(45625) MASTER DESTROYED 

SIDEWALK BLUES(45626) MASTER DESTROYED 

CLARENCE WILLIAMS AND HIS ORCHESTRA (l925) 
(UNKNOWN GROUP INCLUDING WARD PINKETT) 
SHOUT SISTER SHOUT PERFECT 15403 

JOE STEELE AND HIS ORCHESTRA (|928) 

(UNKNOWN GROUP INCLUDING WARD PINKETT) 
TOP AND BOTTOM V I 38066 

COALYARD SHUFFLE VI 38066 

KING OLIVER AND HIS ORCHESTRA 

(PROBABLY; LUIS METCALFE, WARD PINKETT (TPTS); 
J.C.H IGGINBOTHAM (TBN); CHARLIE HOLMES (ALTO); 
TEDDY HILL (TENOR); LUIS RUSSELL (PIANO); PAUL 
BARBARIN (DRUMS); MOORE (BASS); WILL JOHN- 
SON (GUITAR). RECORDED NEW YORK CITY , FEB. I, 
1929. 

CALL OF THE FREAKS(48333 ) VI 38039, hmv jf 36 
THE TRUMPETS PRAYER(48334)V I 38039, HMV JF 36 
THE JUNGLE BAND 

PROBABLY: WARD PINKETT (TPT & VOC ) ; EDWIN SWAY 
ZEE (TPT); ROBERT HORTON (TBN); ELMER WILLIAMS 
OMER SIMEON, HILTON JEFFERSON (REEDS ) J DON 
K IRKPATR ICK (PIANO); CHICK WEBB (DRUMS); UN- 
KNOWN BASS AND BANJO. RECORDED IN NEW YORK 
CITY, JUNE 1 4, .1929. 



DOG B0TT0M(E3OO39) BR 4450, BRE 1 235 

JUNGLE MAMA(E3009l) BR 4450 

(THE LATTER WAS RECORDED ON JUNE 27, |929. 
JELLY ROLL MORTON AND HIS RED HOT PEPPERS 

WARD PINKETT, UNKNOWN (TPTS); WILBUR DEPARIS 
(TBN); EDDIE BAREFIELD (CLAR); MORTON (PIANO); 
COZY COLE (DRUMS); BILLY TAYLOR (TUBA); 
BERNARD ADD I SON (BANJO). RECORDED IN NEW YORK 
C ITY, MARCH 5, 1930. 
EACH DAY(59504) VI 2335l 

IF SOMEONE WOULD ONLY LOVE ME (59505) VI 2332 1 
THAT'LL NEVER D0(59506) VI 230l9, hmv 4836 
I'M LOOKING FOR A LITTLE BLUEB I RD ( 59507) V 1 23004 
WARD PINKETT, BUBBER M I LEY (TPTS); WILBUR DE 
PARIS (TBN); EDDIE BAREFIELD (CLAR); MORTON 
(PIANO); TOMMY BENFORD (DRUMS ) ; BILL BENFORD 
(TUBA); BERNARD ADDISON (GUITAR); UNKNOWN (BJO) 
RECORDED NEW YORK CITY, MARCH 1 9, 1930. 



38135, 40-012 | 
38|35 



LITTLE LAWRENCE(59532) VI 
HARMONY BLUES(59533) VI 

SAME PERSONNEL. MARCH 20, 1 930. 

VI 38|25 

VI 38|25, 40-0121 



FUSSY MABEL(59543) 
PONCHATRA IN(59544 

WARD PINKETT, UNKNOWN (TPTS); GEECHY FIELDS 
(TBN); EDDIE BAREFIELD, JOE THOMAS, WALTER 
THOMAS (REEDS); MORTON (PIANO);COZY COLE ( DMS ) 
BILLY TAYLOR (TUBA); LEE BLAIR (BANJO). 
RECORDED NEW YORK CITY, JUNE 2, 1930. 
OIL WELL(62|82) VI 23321 

LOAD. OF C0AL(62i 83-1 ) VI 23429 

LOAD OF C0AL(62l83-2) VI 23429 

CRAZY CH0RDS(62|84) VI 23307 

PRIMROSE ST0MP(62|85) VI 23424 

WARD PINKETT (TPT); GEECHY FIELDS (TBN); ALBERT 
NICHOLAS (CLAR); MORTON (PIANO); TOMMY BENFORD 
(DRUMS); PETE BRIGGS (TUBA); HOWARD HILL (GTR). 
RECORDED NEW YORK CITY, JULY 1 4, |930. 



LOW GRAVY(62339) 
STROK I N * AWAY(62340) 
BLUE BLOOD BLUES(6234| ) 
MUSHMOUTH SHUFFLE ( 62342 ) 



VI 23334, BB 8302 

V I 23351 , BB 8302 

V I 22681 , BB 8201 

V I E3004, BB 8201 



WARD PINKETT (TPT); SANDY WILLIAMS (TBN); UN- 

(CONT INUED ON PAGE 1 8) 



I've keen roaming 



by edward hill 



Have you ever eaten an Arturo Toscanini 
Club Special? It is constructed of, 
among other components, salami, pas- 
trami, spiced beef, corned beef, potato chips, 
tomato, lettuce and pickles — and the price is 
one dollar. The nourishment that goes with 
this or any of the thirty outsize sandwiches 
on sale at Maurice's, 211 South Quince St., 
Philadelphia, is accompanied by appropriate 
recorded music of your own choice. Maurice 
has thoughtfully worked out an arrange- 
ment whereby your favorites are piped di- 
rectly to your own booth. The fellow in the 
next section may ingest some of Signor 
Tamagno's majestic brays along with his 
sandwich, quite unaware that a third diner 
is basking in the glory of Vivaldi or 
Mahler. It might be. remarked that you 
don't have to choose food named for the 
same composer as the one whose music you 
favor. Your host will not take it amiss if 
you eat Paganini and listen to Shostako- 
vich. Maurice admits to no outright prefer- 
ences or prejudices; nor does he forbid your 
right to draw an inference from the fact 
that he asks $1.50 for a Tschaikowsky 
sandwich, whereas 75c suffices for a Caruso 
job. 

Josephine Jacoby's demise removes a 
singer who made minor contributions to 
some notably successful concerted records 
of a generation and more ago. While not 
possessed of a particularly vibrant voice, 
this contralto's presence was a decided help 
to the visual picture at the Metropolitan 




during her engagement there. The critics 
of the time took note that two excellent 
reasons existed for her appearances as 
Siebel. The four excerpted quartets from 
Marta, in which Mme. Jacoby participated, 
should be encored via the Heritage Series. 
They reveal some of the best of Caruso's 
utterances, as well as those of Frances 
Alda and Marcel Journet ; and the music 
itself is a joy ! 

W. W. Norton & Co. have brought out 
a revised and enlarged edition of Lillian 



Littlehales' biography of Pablo Casals. The 
work first appeared in 1929, since when the 
world's ranking 'cellist has, in truth, lived 
another life. Devotees of some of music's 
most enthralling pages will want to acquaint 
themselves with some of the facts behind 
this great artist's lives and experiences as 
musician and humanitarian. Miss Littlehales' 
part in telling the story is not admirable as 
to organization of material but the subject is 
of sufficient interest to warrant perusal and 
reference. A partial list of Casals' record- 
ings is ificluded as an appendix. 

Norton's list also includes "Harold 
Bauer, His Book," and in it the interna- 
tionally celebrated pianist manages to keep 
a constantly engaging narrative of memoir 
moving right along. Recommended. 

Columbia's publicity minions will have 
exhausted their supply of adjectives in praise 
of "I Can Hear It Now" long ere this 
notice meets your eye. Nonetheless, this re- 
lease's stature as a living document is not 
to be denied. Available both as a five-disc 
album set and as a single 12-inch LP 
record, "I Can Hear It Now" brings to- 
gether, in less than an hour, a series of on- 
the-spot world news events which have 
affected your life and mine these past 
fifteen years; events whose repercussions 
evidently are destined to remain with us for 
the remainder of our years. Charles A. 
Lindbergh tells the America Firsters that 
we have nothing to fear, President Roose- 
velt assures us that we need fear only fear 
itself — that the hand that held the dagger 
has employed it treacherously — that we shall 
gain the inevitable triumph — etc., etc. We 
writhe with the announcer who describes 
the explosion of the zeppelin Hindenburg. 
(The Hindenburg scene and the flashes an- 
nouncing Pearl Harbor and the death of 
Roosevelt will never lose their quality of 
abject shock.) Hitler and Mussolini are 
heard ranting their foul creed, Marshal 
Stalin turns his coat before your ears. Joe 
Louis kayos Schmeling and the late Will 





Rogers emotes with ■ his characteristic bu- 
colic insipidity. Arthur Godfrey's handling 
of the Roosevelt funeral cortege will strike 
you with whatever effect Mr. Godfrey hap- 
pens to inspire within you. 

Mechanically these records are not with- 
out fault. Air-check transcriptions were 
dubbed onto tape — the tape was dubbed onto 
discs — thus we have a record of a record 
of a record. Some of the material which 
originated overseas might have been pro- 
jected with less atmospheric interference, 
had the BBC air-checks been employed. 

A certain amount of trivia has been 
processed as part of the whole for, besides 
Will Rogers, there is Edward of England's 
Abdication Speech, a bit of Huey Long's 
nonsense and the stentorian yawping of 
John L. Lewis (the best actor of the cast — 
one can appreciate his power who hears his 
delivery). 

Possessed of faults of omission and of 
exceedingly dramatic recreations, this re- 
cording stands as one of the phonograph's 
worthiest adventures and belongs in every 
school library. It should be required listen- 
ing at meetings and conventions of Rotari- 
ans, Lions, Shriners, Chambers of Com- 
merce and all such gatherings of yokels 
who are committed to the proposition of 
organized lovey-dovey, whilst keeping their 
order-books very damned handy. 

Your Boston Symphony recordings of 
Mendelssohn's "Italian" and Prokofieffs 
"Classical" symphonies owe you nothing. 




They've been around a long time and have 
given good and faithful service. Despite 
other and later recordings, they have re- 
mained unsurpassed until now, when Dr. 
Koussevitzky again has committed them to 
the wax under today's advanced technical 
conditions. One wonders if these works can 
ever be heard more resplendently than they 
are in their newly issued form. Played at a 
single sitting in either of the two possible 
sequences these sets add up to an evening 
of the utmost musical enjoyment. If, how- 
(Continued on Page 20) 



18 

good and rare 

(Continued from Page 10) 



better than average piano helps these sides 
which should find a place in the connois- 
seur's collection. 

Of special interest are four sides by Count 
Basie which have not been issued in the U. 
S. Bambo, CoS DZ425, features solos by 
Jay Jay Johnson and Illinois Jacquet ; Stay 
Cool, CoS, DZ415, features Harry Edison, 
Jay Jay, Buddy Tate, Rudy Rutherford do- 
ing Hob Nail Boogie/ Danny Boy. CoS 
DZ568 features the Count on a powerful 
Buster Harding arrangement. 

Canada breaks into our column once again 
as Musicana 17, just released, features the 
Bert Niosi Sextet doing Porter's Love 
Song/Row That Boat. Anyone looking for 
examples of foreign jazz should get one 
of these Niosi sides either on Victor or 
Musicana. When the record is worn enough 
your friends will confuse Niosi with Benny 
Goodman's Sextet. These are sides you will 
play and like. 

In Australia, Keith Hounslow's Jazz 
Hounds have just done Jaaz It Up/ Had It 
Blues on Ampersand 17, while Southern 
Jazz Group just waxed High Society, 
scheduled for release in about four months 
on Memphis label. 

The demand for the original Dan Hill 
Sextet sides in South Africa was such that 
these sides are now unavailable ; however, 
Trunote, equal to the occasion, immediately 
pressed the Dan Hill Octet doing Blue 
Train Boogie/Oliver Twist, and Jam Ses- 
sion 1 & 2, which our South African "ear" 
informs us are superior to the first releases. 
This would make them a real earful ! 

In France the Hot Club Quintet is back 
with Brick Top/What Is This Thing Called 
Love, on Sw 283, and Lady Be Good/Mike, 
on Swing 288. 

H. Rostaing, that fine French clarinetist 
usually featured on Hot Club Quintet discs, 
has just released Play Back- Swing/ Wash- 
ington Blues, Sw 286, and High Tide/ 
Champs Elysees on Sw 288. 



4 EXCITING SIDES 



BY THE 



CaMte }ajj Sand 

HP 8/9 KANSAS CITY STOMPS 
DARKTOWN STRUTTERS BALL 



HF 10/11 TIGER RAG 

NO BOP HOP SCOP BLUES 

PUce $1.05 

Distributors 



EAST 

RAMPART RECORDS 



WEST 
YERBA BUENA 



CASTLE RECORDS 

5126 S. E. 37th Ave. 
PORTLAND, OREGON 



Of interest is the appearance of the 
Claude Luter Trio on J.R.S. 1 with 122 
Blues. 

Big Boy Goodie, another good French 
clarinetist, is out with Tea for Two /World 



Is Waiting for the Sunrise on Swing 285. 
M. de Villers does I'm Sorry/I Surrender, 
Dear on Sw 290, while Kenny Clarke has 
Algerian Cynicism/ Laurenzology, and An- 
nel/Mood for Love on Sw 284-289. 



ward pinkett 



(Continued from Page 16 ) 

KNOWN (CLAR); MORTON (PLANO); BILL BEASON 
(DRUMS); BILLY TAYLOR (TUBA); BERNARD ADD I SON 
(QTR ) . RECORDED NEW YORK CITY, OCT. 9, 1930. 
GAMBLING JACK(643l3) VI 23307 

FICKLE FAY CREEP(643|4) VI 230l9, HMV 4837 

KING OLIVER AND HIS ORCHESTRA 

UNKNOWN' FE RS0NNEL: WARD P I NKETT ( TPT & V0C) IN- 
CLUDED PLUS 2 TPTS; TROMBONE; 4 REEDS; 4 RHYTHM; 
RECORDED NEW YORK CITY, JANUARY 9, 1 93 1 . 
PAPA DE DA DA( 35910) BR 6053, BRF 9029 



THE LITTLE RAMBLERS 

WARD PINKETT (TPT & V0CS); ALBERT NICHOLAS (CLR ) 
JACK RUSIN (PIANO); SAMMY WEISS ( DRUMS ) ; JOE 
WATTS (BASS); DANNY BARKER (GTR); ADRIAN ROLL I N I 
(VIBES). RECORDED NEW YORK CITY, OCT. 3, 1 935. 



EV'RYTHINGS 0KEY-D0KEY 
I 'M ON A SEE-SAW 
I 'M PA INT I NG THE TOWN RED 
RED SAILS IN THE SUNSET 
TENDER IN THE NIGHT 
TAP ROOM SPECIAL 



BB 6144 

BB 6 l 30 
BB 6130 
BB 6 1 3 1 
BB 6l3i 
BB 6|93 



BR 6046 



NOTE: 



WHO'S BLUE(359l I ) 

STOP CRYING(359l2) BR 6053, BRF 9O29,BREll05 ON MARCH 1 8, 1 930 KINQ OLIVER RECORDED t 

UNKNOWN PERSONNEL WHICH iNCLUDED WARD PINKETT I MUST HAVE IT(59525) VI 38|24 

(TPT & VOCS); B I NG IE MAD I SON (SAX); AND PROBABLY RHYTHM CLUB ST0MP(595fi6) VI 38|37 



FRED SKERRITT (SAX); AND * LUCAS. 

RECORDED NEW YORK CITY APRIL |5, |93|. 
LOVELESS L0VE(36474) VO |6|0 

ONE MORE TIME(36425) VO 1 6 1 0 

WHEN I TAKE MY SUGAR TO TEA(36626) VO |6|7 



YOU'RE JUST MY TYPE(59527) VI 38|24 
IN VIEW OF THE PROXIMITY OF THIS SESSION TO THE MORTON 
RECORDINGS ON WHICH PINKETT WAS FEATURED, IT WOULD BE 
INTERESTING TO HEAR FROM COLLECTORS AS TO WHETHER WARD 
PINKETT CAN BE HEARD ON ANY OF THESE SIDES. (A.M.) 



19 



(Continued from Page 15) 

The feature of this side is a weird arrange- 
ment by Fuller, with insistent dissonant fig- 
ures. I still haven't made up my mind 
whether I like it or not. Moody has another 
rousing bit, which is matched by alto- 
man Ernie Henry, and there's some clean 
trumpet by Dave Burns, who has been play- 
ing under the shadow of Dkzy in the big 
band. 

All in all, this is a pretty interesting 
record — I don't think it's great, but it's 
almost another new direction. The more the 
merrier. (Blue Note 553) (P.B.) 

Kid Ory's Sunshine Orchestra 

Ory's Creole Trombone 
Society Blues 

It's a break for most of us when some 
rare record is re-issued, and doubly so when 
it happens to be one of the earliest examples 
of recorded New Orleans Jazz. In 1921 the 
Spike Brothers of Los Angeles herded a 
band. Kid Ory and His Brownskinned Band, 
into the old Nordskog studio and cut two 
band sides — Ory's Creole Trombone and 
Society Blues. On the Nordskog label the 
band was called, I believe, The Seven Pods 
of Pepper, and the Sunshine label, pasted 
over the original, read Ory's Sunshine Or- 
chestra. At a later date four other sides 
were made, but they were vocals by Roberta 
Dudley and Ruth Lee, and neither singer 
was any great shakes. 

For this reason the band sides have been 
of the utmost importance. Dink Johnson, 
whom Bill Russell has recorded on his AM 
label as a pianist, played clarinet in those 
days, and Mutt Carey, of course, was on 
cornet. Of the others, Ed Garland who 
played bass on the date is still with Ory 
but I haven't heard of Fred Washington, 
the pianist, in years. Ben Borders, the 
drummer, is just another name to me. 

I happen to have the Roberta Dudley 
record, so I had heard snatches of the band 
before, but it was a real kick to hear them 
play uncluttered by any singer. Then I 
played this one alongside the Crescent and 
Exner sides, as well as Ory's Columbia 
Album, and considering the differences in 
electrical and acoustical recording they come 
out all right. In fact I think that towards 
the end of the Ory's Creole Trombone side, 
where they really rock, they are damned 
good indeed. Actually, they sound not too 
unlike the King Oliver Creole Band in such 
places and a couple of times I caught my- 
self wondering where Baby Dodds' wood 
blocks were. And on the other side Papa 
Mutt takes a break towards the end that 
sounds not too different from the breaks 
that the King used to take. I've been re- 
minded before when playing other, records 
by New Orleans bands how many of them, 
in places, sound like Oliver, but this was the 
most striking likeness in approach of the lot. 

For anyone who isn't label happy this 
record is a real break. I don't know what 
an original Sunshine in E+ condition would 
bring at auction, but I know that I've bid 
plenty on them in the past and never even 
come close. So if anyone who has one thinks 
that this re-issue is going to knock the props 
from under that record's value will he get 
in touch with me? I'll give him a fair price 
for it. 

Over the years there has been building up 
a solid library of re-issued records and I 
hope the trend will continue, for some of 
the originals are all but impossible to come 
by these days. Paradox is to be congratu- 
lated. (Paradox 3, $1.05) (B.M.) 



cradle of jazz 

(Continued from Page 7) 

This new venture plunged Gennett deep 
in litigation. Victor brought suit for alleged 
infringement upon the patent on a record- 
cutting stylus. Gennett won the case in the 
United States Supreme Court. The victory 
made the instrument public domain, but the 
Richmond company gained added stature in 
the industry. 

In post- World War I days, annual pro- 
duction approximated 15,000 pianos, 35,000 
spring-driven phonographs, and more than 
3,000,000 records — all recorded in its Gen- 
nett studios. 

Although vines almost obscure the once 
brightly-painted Gennett trademarks on the 
sprawling old brick buildings, there's at least 



one sweet chord there for jazz lovers. It 
comes from Harry Gennett, Jr., general 
manager of the records division. 

If some of the master discs of the rarer 
jazz gems can be found in the dusty room 
over his office, they may be re-pressed. 
However, Gennett himself doesn't know 
what's there, for during the depression, he 
recalls sadly, someone sold many of them 
for the copper they contained. 

The younger Gennett asks that record col- 
lectors not besiege the Gennett plant at this 
stage. If and when the old masters are re- 
cast, he'll say so. 

But there's little doubt that, if and when 
Gennett does drag out its old jazz classics, 
Richmond will see as strange a procession 
of collectors and music addicts walking its 
streets as ever visited there in the days when 
the town was the mecca of all great jazz 
musicians. 




FOR COMPLETE CATALOG WRITE TO 



BLUE NOTE RECORDS 

767 LEXINGTON AVENUE RE 4-4167 NEW YORK 21. N. Y. 



20 



IN LOS ANGELES 
IT'S THE 

ieu>in 

RECORD OUTLET 

(Formerly of New York) 

"The Collectors' 
Paradise" 

The Largest Store in California 
Devoted Entirely to 
Collectors' Items 

For the Best in Jazz, 
Swing, Bebop, Popular 
and All Old Favorites. 

Tremendous Assortment 
of 

Armstrong, Bechet, 
Bessie Smith, Muggsy, 
Holiday, New Orleans, 
Miller, Goodman, Dodds, 
Jelly Roll, Bix Beiderbecke, 
Ellington and Ellington Units, 
Dixieland, Basie, Bing Crosby, 
Etc., on Original Labels, 
Imported Parlophone, 
HMV, Etc. 

Please send in your want lists. 

If in Los Angeles or vicinity, 
.it would be well worth while 
to visit us. 

5600 Hollywood Boulevard 

LOS ANGELES 27 
CALIFORNIA 

Telephone Hillside 8088 

As Always, Fairest Prices. 



i've been roaming 

(Continued from Page 19) 

ever, you are a "full-length, or else" 
musiker, you might do worse than interpo- 
late the Bostonians' highly adept treatment 
of the Berlioz "Harold in Italy" with 
William Primrose's viola magic. 

Victor's recent spate of operatic single 
disc releases includes a few dogs and some 
of the most artistic things yet to turn up. 
Joel Berglund's singing of excerpts from 
Tannhduser and The Flying Dutchman 
presents the music definitively, beautifully. 
Giuseppe di Stefan's work in airs from 
Mignon will win him many admirers among 
those who relish the open, Italianate type of 
projection, and he has been recorded 
splendidly. 

Oscar Natzke, once billed as "the singing 
Anzak" and long a good-seller on his for- 
eign-made records, is represented on the 
Columbia list by a pair of Zarastro's reso- 
nant moments from The Magic Flute which 
he intones in a solid basso profondo and 
brings off with convincing authority, albeit 
the English text jest ain't no good.. 

Diedrich Buxtehude is the star of Aksel 
Schiotz's first record of American release. 
The Cantata: A peril e Mihi Portas Justitiae 
is performed eloquently, lovingly by Mr. 
Schiotz and contralto and bass vocal asso- 
ciates, with two violins, 'cello and harpsi- 
chord. Everyone is properly a consummate 
musician and this disc is a worthy item in 
the repertoire. Its sales-appeal is rather 
limited, though, I think. The record buyer 
wants Mr. Schiotz in solo performance and 
his Messiah seems to be what is wanted 
most. 

The old-time music store is pretty much 
a thing of the past in New York — that is — 
until you step across the threshold of Henry 
Mielke's at 242 East 86th Street in New 
York City. Here there are no chrome and 
plush fixtures, no perfumed males in attend- 
ance, no television nor radio sets, no million 
dollar highboy catch-alls. Mielke's staff 
knows and loves records. That's the way it 
has been for a generation and that's the way 
it's going to stay. There are records new 
and old, domestic and imported, common 
and rare. Tauber and Erna Sack items ga- 
lore — and some repressings of electrical 
Polydors by Leo Slezak. Nothing cut-rate, 
nothing over-priced. Plenty of patience with 
sincere music-lovers and none at all with 
types. The manager, Mr. Schlenger, is a 
jovial soul and seems, by means known only 
to himself, to be able to tell you what you 
want before you ask for it ; and should you 
presume to order by catalog number, he 
will gently massage your scalp with a base- 
ball bat kept on the premises for just such 
occasions. 

Incidental and Unimportant : Emilio de 
Gogorza's 1905 record of the Toreador 
Song (Victor 74046, renumbered 88178) 
employs an aggregation described as The 
New York Grand Opera Chorus. The anti- 
quarian who really listens to his relics 
should have no trouble in discovering that 
on this disc, while Mr. de Gogorza sings 
his song in the original French, the chorus 
carries on in Italian. . . . This is the sort 
of thing which makes specialists in very old 
records "that way." 




YERBA-£UENA 

5721 GROVE STREET 
OAKLAND 9 CALIF. 

MAIL ORDERS WELCOMED— SATISFACTION 
GUARANTEED 

We stock ALL jazz and other labels 

(Everything that's advertised in THE CHANGER) 
(Exception: not everything in "For Disposition") 

Excerpts From Our New 
12-Page Jazz Catalog: 

PARAMOUNT (reissues) $1.05 each 

JOHNNY DODDS & R. M. JONES' JAZZ WIZARDS: 

Hot & Ready/It's A Lowdown Thing. 
TOMMY LADNIER ORCH. with EDMONIA HENDERSON: 

Jelly Roll Blues/Lazy Daddy Blues. 
LOUIS ARMSTRONG with F. HENDERSON ORCH: 

Prince of Wales/ (Copenhagen). 
JOE SMITH ORCHESTRA/THE MYSTERY RAGSMITH: 

Heart Breakin' Joe/African Rag. 
FLETCHER HENDERSON, piano solos: 

Chimes Blues/I Want To. 
LEADBELLY: 

All Out and Down/Packin' Trunk. 
JELLY ROLL MORTON & ORCHESTRA: 

Big Fat Ham/Muddy River Blues. 
CLARENCE WILLIAMS ORCHESTRA: 

Squeeze Me/New Down Home Rag. 
JAMES P. JOHNSON/FLETCHER HENDERSON: 

Harlem Strut/Unknown Blues (solos). 
MEADE LUX LEWIS with George Hannah: 

Freakish Blues/The Boy in the Boat 
MA RAINEY: 

Deep Moanin' Blues/Traveling Blues 
FLETCHER HENDERSON ORCHESTRA: 

Swamp Blues/Off to Buffalo. 
SQUIRREL ASH CRAFTSMEN (Bill Priestley, cornet): 

Riverboat Shuffle/Sugar. 
(And more to come: entire PARAMOUNT catalog!) 

S & D REISSUES $1.05 each 

WILL EZELL, CHARLIE SPAND, ALEX HILL, etc.: 

Hometown Skiffle, I & II. 
DOBBY BRAGG: 

Single Tree Blues/Fire Detective Blues. 
JELLY ROLL MORTON'S STOMP KINGS: 

Mr. Jelly Lord/Steady Roll. 
SKIP JAMES/JABO WILLIAMS: 

Little Cow and Calf/Fat Mama Blues. 

NEW CENTURY REISSUES $1.05 each 

BUD JACOBSON'S JUNGLE KINGS: 

Clarinet Marmalade/Laughing at You. 
CHICAGO RHYTHM KINGS: 

Song of the Wanderer/Some Changes Made 
JOHNNY DODDS etc./YOUNG'S CREOLE JAZZ BAND: 

South Bound Rag/Tin Roof Blues. 
DOBBY BRAGG: 

3.6. and 9/We Can Smell That Thing. 
JIMMY BLYTHE RAGAMUFFINS (Keppard, Dodds): 

Messin' Around/Adam's Apple. 

NEW MEZZROW-BECHET OUINTET, 
King Jazz $1.05 

With vocal by Coot Grant* and Grant & Wilson: 

You've Got To Give It To Me»/You Can't Do That 
To Me. 

Evil Gal Blues/Breathless Blues. 

NEW BECHET-BOB WILBUR ALBUM, 
Columbia $3.95 

WITH BOB WILBUR'S WILD CATS: 79c singly: 
Kansas City Man Blues/Polka Dot Stomp 
Spreadin' Joy/It Had It But It's Gone. 

WITH THE BECHET QUINTET: 
Just One of Those Things/Laura 
Love For Sale/Shake 'Em Up. 

NEW BOB WILBUR WILDCATS ALBUM, 
Rampart $3.95 

When You Wore a Tulip/Frog-i-more Rag 
Camp Meeting Blues/Once in a While 
Trouble in Mind/Oh, Daddy. 

AND: BILL WILLIAMS DIXIELAND BAND 
Album $3.15 

Black and White Rag/Ridin' to Glory on a Trumpet 
Maple Leaf Rag/Muscat Ramble (sic) 
Jeep Blues/At the Jazz Band Ball. 

OUR COMPLETE CATALOG MAILED ON REQUEST. 

West Coast Distributors (catalog on request): Castle, 
Circle, Exner, Pacific, Reissue, Rampart, Session. 




"Ya know, Al, I think we'd better stack the next batch 
of records in that end!" 



Yes, we do have a large stock of records. We handle such labels as 

West Coast, C ircle, Exner, Pacific. HJ.C.A^ I.H.C.A., 
Yinylite Jazz, Century, Dial, Jump, American Music, 
Commodore, Blue Note, Trilon, Rampart, etc. 

and a large stock of collectors' items 

SEND YOUR WANT LIST OF NEW AND RARE 
RECORDS. IF WE CAN'T FILL IT, .WE WILL 
PLACE IT ON OUR BULLETIN BOARD 

All tke CaUect&iA. in tltU A lea w~atck om/i /l&and. 
may be able ta pll you/i uuzriU. 

THE RECORD SHACK 

11800 Wilshire Blvd. Los Angeles 25, Calif. 

Open Daily Noon till Nine — Sundays till Six 



21 



for your jazz library 

A splendid selection of jazz literature 
to heighten your listening enjoyment. 




by gene deitch 



A collection of the best Cat Cartoons which 
have appeared in the Record Changer over 
the past four years, plus many previously un- 
published cartoons of the Cat. The book in- 
cludes forty-six cartoons in thirty-two pages. 
George Avakian does the amusing com- 
mentary. 

$1.00 



arnold b. stilwell's 

RECORD DATING CHART 

covering the period through 1930. 

the answer 

to every record collector's dream. The chart, 17" i 22". will tell you 
at a glance the approsimate recording and issuance date of any 
record appearing on more than 100 labels issued before 1930. 

an example of how the chart works 

Let us suppose you pick up a copy of Richard Hitter's Blue Knights 
on the Gennett Label. Record Number 3149. Master Number 9725, 
playing "Stomp Off Let's Go." Knowing little about the record 
and being unable to locate it in any of the standard reference 
books you can go to your record dating chart and at-a-glance tell 
that the record was made about June 1925 and released August 
1925. 

just a few of the labels 

covered by this amazing chart: Ajax, Arto, Autograph, Globe, Hy- 
tone. Black Patti. Black Swan, Blu Disc, Broa'dway, Buddy, Clai- 
tonola, Dandy, Edison, Federal, Starr, Champion, Grey Gull, Radiei, 
Globe, Madison, Pennington, Lincoln, Mensa, Muse Harmograph, 
Qrs, Sunshine, Polk, Winner, Triangle, plus all of the common 
labels, plus all the rest of the obscure ones. 

in addition 

there are eiplanatory notes on most of the labels tracing their 
inter-relationships and releasing systems. 




Order your Chart now. 

$1.00 



V ' 

— PURITAN 
— NATIONAL 
— TRIANGLE 
— CLAXTONOLA 
— BROADWAY 
— BLACK SWAN 








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PATHE PERFECT 



2WOO 



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14 1 91 


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Bing Crosby Oncography 

The most complete discography ever 
published including all DE, VI, CO, 
OK. HA, VE, Dl, CL. PE, ME. BA, OR, 
VO, RO, CQ, SIL, LU, English Labels. 
A truly definitive work. 80 pages. $1.00 


Red Nichols and his Five 
Pennies 

A complete discography by Venables 
and White. Lists all known pennies .35 


Matrix Numbers 

Their meaning and history. With a full 
guide to the numbers of all major com- 
panies. A splendid explanation of 
master numbers of the leading record 
companies. 24 pages. By Douglas C. 
Black 65 


The Little Discography 

Complete information on records 
produced prior to August 1945 by 65 
small record companies, together with 
V-Disc Jazz Records. Personnels are 
given for nearly 1,000 records. 65 
pages. By William H. Miller $1.00 



George Brunies Special 

Life & Discography. Features. 8 P. Large 
Format 25 

Jazz Impressions 

(In 6 Parts) By Bill Miller. 8 P. Large 
Format 25 

Reprints and Reflections 

Boze, Charles Edward Smith, Noone, Etc. 
8 P. Large Format 25 

Three Brass 

Floyd Obrien, Kaminsky, Sherock. 8 P. Large 
Format 25 

Chicago Documentary 

By Fred Ramsey, Jr. Conversations with 20 
Great N.O. Jazzmen. 34 P 50 



Piano Jazz Pt. I 

Kansas City Frank, Garland Wilson, Hodes, 
Zack, Joplin, Gin Mill Joe, Etc. 28 Pages .35 



Australian Jazz Quarterly (Single 
Copies) 

No. I Condon, Brad, Jelly Lord, Marty Mar- 
sala Discography, Ory, Etc. 32 P 35 

No. 2 Billie Holiday, Come Back Sweet Papa, 
Matty Matlock, Etc. 24 P 35 

No. 3 Half Pint Jaxon, His Life in 28 Chap- 
ters. 24 P 35 

No. 4 Clyde Clark, Reviews, Tempo King, 
Biondi, New Orleans, Sid Weiss. 24 P. .35 

No. 5 Frisco Jazz Band, Bunk, Rollini, St. 
James Infirmary, Matrix. 24 P 35 

No. 6 Boyce Brown, Hodes Discography, Etc. 
24 P 35 

Record Changer Back Issues 

All available except about 6 early issues, 

'43, '44 35 Each 

Any full year except 1943-1944 3.00 Set 

Complete except 6 missing issues. August 
1942 to Date 1 5.00 Set 



SEND YOUR REMITTANCE FOR 
ANY OR ALL OF THESE BOOKS TO 

the record changer 

125 la salle st. 
new york city 27, n. y. 



HOW THE RECORD CHANGER WORKS: 



23 



Abbreviations used in the Classified 
"Wanted" and "For Disposition" 
Sections are as follows: 

Col. I, Record Label: 



A* Aeolian 

Aj Ajai 

AM .... American Music 

Aj Ap»« 

At Artiption 

At Asch 

Au Autegraph 

A> .... Aeolian Vocalian 

■a Banner 

SB Blue Bird 

B« Beacon 

Bl Berliner 

IN Blue Note 

BP ... Brunswick Polydor 

Br Brunswick 

Bt Beltona 

BS Black Swan 

Bu Buddy 

B«y Broadway 

Ca Cameo 

Ch Champion 

CI Collectors Item 

CI Clarion 

Clg Clangor 

Cn Chantal 

Co Columbia 

Com Commodore 

Cp Capitol 

Co, Conqueror 

Cr Crown 

CRS. Collectors Rec. Shop 

Cs Crescent 

Cx Claitonola 

Oc Decca 

OF Discophiles Francoises 

Di Dua 

01 Dolmetsch 

Do Domino 

DP Decca Polydor 

Ds Disc 

Dx Deluxe 

Ed Edison 

EB Edison-Bell 

El Electrola 

Em Emerson 

Ex Excelsior 

Fo Fonotipia 

FO .... Fonotipia- Odeon 

FRM Friends of 

Recorded Music 

Ge Cennett 

GG Grey Gull 

Gl General 

Gr Gramophone 

Gt Gamut 

Ha Harmony 

He Homochord 

Hg Harmograph 



Hgl Hariail 

HMV. His Masters Voice 

How Hit of the Week 

MRS Hot Record Society 

Id - Ideal 

J* Jewell 

Jl ... Jazz Information 

JM Jazz Man 

Kn Keynote 

Li Lincoln 

Lu Lumen 

Me Melotone 

Ml Melbt 

Mo Monarch 

Mp Masterpiece 

Ms Master 

MV Musique au Vatican 
MW . . Montgomery Ward 
NMQ New Music Quarterly 

Ns Nordskog 

Od Odeon 

OL Oiseau Lyre 

Op Olympia 

Or Oriole 

Pa Parlophone 

Pat Pathe 

Pd Polydor 

Pe Perfect 

Pm Paramount' 

Pr Pro Musica 

Pu Puritan 

Ra Radiodisgue 

Re Regal 

Ro Romeo 

Ry Royale 

RZ Regal-Zonophone 

SA Solo Art 

Sal Salabert 

Sbl Sonabel 

Sg Signature 

SI Sil»ertone 

St Sterno 

Su Sunshine 

Sw Swing 

Sy Syrena 

Te Techmchord 

Tfk Telefunken 

TM . Treasury of Music 

Tr Triangle 

UH United Hot Clubs 

Ul Ultraphone> 

Ve Velvetone 

Vi Victor 

ViE Export Victor 

Vo Vocalion 

Vr Variety 

Vs Varsity 

Vy Victory 



When it is necessary to indicate nationality of 
the record, the following letters appear after 
the record label abbreviation: 



A Argentinan 

Au Australian 

B Brazilian 

C Canadian 

E English 

F French 



G •. . . . German 

I Italian- 

J Japanese 

M Mexican 

S Swiss 

Sd Swedish 



In the "For Disposition" section the condition 
of the record it indicated by these abbrevia- 
tions: 

N (New): Surface noise equal to an unplayed 
record; no visible or audible wear percep- 
tible: original finish intact. 

E (Excellent): Surface noise low. smooth, uni- 
form. Not irregular or crackling. Easily dis- 
regarded in listening No perceptible distor- 
tion. 

V (Very Good): Surface noise somewhat 
more prominent: light foreign noises, but 
slight distortion, if any; noises not seriously 
distracting. 

G (Good): A moderate amount of surface 
noise; background may be somewhat irregu- 
lar and crackling: some foreign noises, and 
a little distortion: on the whole, reasonably 
satisfactory listening without undue distrac- 
tion of attention Foreign noises definitely 
less prominent than the music. 
F(Fair): Foreign noises, taken together, are 
about as prominent as the music, and there 
Is considerable distraction of attention, and 
listening requires some effort and concentra- 
tion; nevertheless, under these conditions, 
listening should be fairly satisfactbry. 
P (Poor): Foreign noises, collectively, are 
louder than the recorded music: continuous 
concentra'ion Is required, and there is little 
satisfaction in listening. 



Column 4 of the "For Ditpotition" section shows 
the method by which each record is to be dit- 
poted. 

"SAL,'': The record is for sale at the price 
indicated. 

"AUC": The record is at auction. The highest 
bid takes the record. Bid only what the 
record is worth to you. 



"TRA": The record is for trade only. If you 
are not familiar with the Wants of the ad- 
vertiser send for his want list. If you have 
certain records in which he may be in- 
terested, mention these in your letter. 

The extreme right column in bolh the "Wanted" 
and "For Disposition" sections shows the first 
four letters of the advertiser's name. His ad- 
dress is shown below. 



ADVERTISERS WHOSE ADDRESSES ARE NOT SHOWN ELSEWHERE 



A I RE I L.W.AIREY 570 GROVE AVE., 

WINDSOR, ONTAR I 0, CANADA 
ANDE: JOHN L . ANDERSON 246 E. 46 

ST., NYC |7, NY 
ARGO: JOHNNY ARGO 60 TOLMAN ST., 

W . NEW TON 65, MASS. 
AVER: RAY AVERY, THE RECORD 

ROUNDUP 1630 S. LA CIENEGA, LOS 

ANGEEES 35, CALIF. 
bOLL: DANTE BOLLETINO 55 W. 42 ST. 

NYC 

CAYU: G . CAYUGA N 23820 HOOVER RD . , 

VAN DYKE, MICH. 
CHINl H.W.CHINEVERE 6 CASTILLO ST. 

SAN FRANC I SCO 24, CALIF. 
CIAR: ANTHONY P.CIARDI 1119 

LUZERNE ST . , S CR A NTON, PA. 
CLOU: RON CLOUGH 39 BOL I NGBROKE 

MARSHF I ELDS , BRADFORD, YORKSHIRE 

ENGLAND. 

COCH: G.WEST COCHRANE 1 200 MAIN 
ST., UPLAND, PENNSYLVANIA 

COHE: NORMAN COHEN 4622 N. WAR- 
NOCK ST., PHILADELPHIA 40, PA. 

COOE: elson cook p.o.eox 769 

PHOENIX, ARIZONA 

COOK: j.g. cook i 59 charles st., 

B0LD0N COLLIERY, DURHAM , ENGLAND 
DWEN ( GEORGE A DWENGER 2 EDGEMONT 

RD. ,MONTCLA I R, N.J. 
DYMI: WALTER F. CYMIT2237 N. 73 

RD COURT, ELMWOOD PK 35, ILL. 
FERT: ROBERT W. FERTIG I 32 ROSLYN 

ST, ROCHESTER II, N . Y . 
FORR: WILLIAM FORREST 35 W. 7| ST 

NYC 

GENT: NORMAN P. GENT I EU 86 S. 

LANSDOWNE AVE., LA NSDOWNE , PA. 
GLIB: CLINTON E. GLIBERT |2|6-*t 

S. |2ST TACOMA 3, WASH. 
GLOB: GLOBE AGENCIES 55 W. 42 ST. 

NYC 

GOLD: FRANK GOLDMAN 394 E. 40TH ST 

BROOKLYN 3, NYC 
GOTT: R. E.M.GOTTLIEB 1 6 I 5 B SO. 

5TH ST., WACO, TEXAS 
HAW I: MOSES HAMILTON 3956 V I NCENNES 

CHICAGO |5, ILL. 



HENRI DALE HENRY 905 GORE BLVD. 

LAWTON, OKLAHOMA 
HEWE: JACK HEWELCKE 2225 OCEAN 

AVE. , SAN FRANC I SCO |2, CALIF. 
HOFFl R.W.HOFFART 887 E. 140 ST., 

CLEVELAND |0, OHIO 
KUHLJ GUS KUHLMAN, COLONIAL GAR- 
DENS R.D. »*| . NEW BRUNSWICK, N.J. 
LEVI: FLOYD LEVIN 405 N. NORTON AVE. 

LOS ANGELE-S 4, CALIF. 

LIQU: john liquori 4563 n • Colorado 

AVE., PHILADELPHIA 40, PA. 
LUBI: R. LUBIN 555 TIMPSON PL., 

NY 55, NY 
MACG: J.A.MACGOW I 720 M I DDLEHURST 

RD., CLEVE HGHTS, OHIO APT 30 1 
MARC: CY MARCUS 2036 CROPSEY AVE 

BROOKLYN, N.Y. 
MAYE : HOWARD MAYER 263 B I LTMORE 

AVE... ELMONT, L. I ., NY 
MCKU: JAMES MCKUNE I 79 MARCY AVE 

BROOKLYN II, NY 
MCRE: ALBERT MCREA, SR. P.O. BOX 

I 38, WEST V I LLE , N.J. 
MOUL: WILLIAM R. MOULTON 22 1 

GERRY RD., CHESTNUT HILL 67, MASS . 
0 RLA { JAMES ORLANDO, D I CKERSON 

RUN, PA. 

OSTR: B. OSTROFSKY 1 66 2ND AVE., 

NYC 

PARR : SID parry; 574 w. 1 76 ST 

NYC 33, NY 
PHIL* W.L.PHILLIPS 1 26 W FIRST 

AVE., KANNA POL I S , N.C. 
PIKE: GILBERT PIKE 10 W I NNEMERE 

ST., MALDEN, MASS. 
PIPE: JOHN M. PIPES BOX |2|5 

BIG SPRING, TEXAS. 
POULl ROBERT D. POULSON 8|0 S. 

8TH, LINCOLN, NEBR. 
PROS: STEPHEN PROSPER 10 CASTILLO 

ST., SAN FRANCISCO 24, CALIF. 
OU IN* W.W.QUINN 4406 J, GALVESTON 

TEXAS . 

SCHR: BILL SCHROEDER 348 WOODLAWN 

AVE. J.C. 5, N.J. 
SCHUJ HARRY SCHUSTER 1 779 FULTON 

AVE., BX 57, NY 



24 



SHIP: J.S.SHIPMAN 260 VflSSAR AVE. 

NEWARK 8, N.J. 
WANG : IRV. WANGROW 2533 BUENA vista 

DETRO IT 6, MICH. 
WARRJ DONALD B. WARREN 29 1 3 N. 

HACKETT AVE., MILWAUKEE II, WISC. 
WISH: HARKLESS WASHINGTON, JR. 

1575 TURK ST., SAN FRANC I SCO |5, 

CAL I F. 

WEINl RAYMOND WEINSTEIN 38 THA T- 
FORD AVE., BROOKLYN , N.Y. 

ZAWA: STEVE ZAWACKI 1 3400 FENELON 
AVE., DETROIT |2, MICH. 

ZEIG: les iEiGER i056 sherman ave 

NY 56, NY (MIN ORDER $ .90) 




, all you 



^iu tne 

los angolas 
ajroa* • • • 
you're 
invited to 

marie Ic gene deitch's 
regular friday night 
record sessions: cr 1-6240 



Published in London monthly 

JAZZ JOURNAL 

is edited by 
SINCLAIR TRAILL & 
TOM CUNDALL 

and features the writings of such 
authorities as 
Hugues Panassie, Brian Rust 
Stanley Dance, Peter Tanner 
Grey Clarke and John Davis 

together with 

Discographies, Record and Book 
Reviews, Cartoons, Record Dis- 
posals and Wants, and many other 
features — always interesting, and 
often amusing. 

Subscriptions — $4.50 yearly. 

to 

THE RECORD CHANGER 

125 La Salle Street 
New York 27, N. Y. 



WANTED 



ART KAHN ORCH. 
IM HAPPY WHEN YOUR HAPPY / 
YOU D I D NT HAVE TO TELL ME 
ME 12090 

CARL A. KENOZ I GRA, JR. 74 SOUTH 
ROAD, HARRISON, N.Y. 



CLOSING DATE FOR BIDS 
On all Records advertised 
for auction in this issue will 

be MARCH 20, 1949 

UNLESS OTHERWISE STATED 



RECORDS 
WANTED 

I will buy collections out- 
right. Anything from 10 
to 10,000 Records. Jazz, 
Pop, Swing, etc. Send me 
a list of what you have 
with the condition of the 
Records indicated. You 
will receive a prompt re- 
ply. Write to 

GEORGE RAAB JR. 
1 JACOBUS PL. 

N. Y. C. 



NOTE 



All persons using the medium of the Record 
Changer in the buying, selling or trading of phono- 
graph records, do . so subject to these Rules and 
Regulations: 

1. A collector or person who solicits and receives 
advance remittance for a record must send the rec- 
ord within a period of four weeks. 

2. A collector or person who orders and receives 
a record prepaid mu'St pay for it within a period of 
four weeks. 

3. A collector or person who obtains a record in 
trade must fulfill his end of the trade within a 
period of four weeks. 

4. A collector or person who requests that a 
record be shipped C.O.D. must accept the shipment 
unless the shipment is damaged in transit. (A bid 
on an auction or an order from a sale which states 
that records will be shipped C.O.D. unless otherwise 
instructed, is considered a request for C.O.D. ship- 
ment.) 

The name of the person or collector who violates 
the above rules will be printed in the Record 
Changer upon the first violation, and the violation 
will be described. (Exception: where breakage or 
over-grading is concerned, the record is to be re- 
turned promptly to the snipper. If the parties in- 
volved do not arrive at a settlement, the matter is 
to be referred to the American Record Collectors 
Board.) 

* * * 

When infractions of these rules occur, contact 
Jacob S. Schneider, Legal Dept., The Record 
Changer, 128 West 66th St., New York N Y 



Jet tfcut Convenience 

The Record Changer 

125 La Salle Street, New York City 27, N. Y. 



Please enter my subscription to your magazine for 

□ I year; □ 2 years; □ 3 years, 
my remittance is enclosed 

United States I year $3.00; 2 years $5.50; 3 years $7.50 

Canada I year . . $3.25; 2 years. . . $6.00; 3 years. . . $8.25 

Foreign I year. . . $3.50; 2 years. . . $6.50; 3 years. . . .$9.00 



Name 

Address.. 



FOR DISPOSITION 



First four letters of couxctcb's name | 
ifor aooress. see page 6, 



PRICE 

trace; 



for sale; 
1nimum bio 



VALUE IF FOR 
IF FOR AUCT I ON 



UETHOO OF disposition: "sal", 
for sale at price indicated; 

:a " .for trade: "auc", at 
auction. Closing date for bids, 
see page 6. *t-a" for trade 
or auction; "t-s" for traoe 
or sale: "sta" for sale, traoe 
or auction. 



Condi ti on of record: n-new 
E-£xcellent; v-very good 
G-cood ; F-fair; p-poor. 



IChTALOG NUU6ER of re 



Label of record. 



^S'EE'l ALLEN 
LOST FEW HE?OP/GIVE IT UP 

BARCLAY ALLEN 
ST LOUIS BL/CUUANA 

RED ALLEN 
TRUCK IN/OINAH LOU 

GOOO night/theres A KITCHE 

LOUIS ARMSTRONG 
ORV CREOLE TROM/LAST T IUE 
SQUEEZE ME/ONCE IN IHILE 
SUNNY SIDE ST/(2 SIDES) 
COAL CART BL/DOWN HONKY 
219 BL/PERIOO ST BL 
SA BOBO/wiLD MAN BL 




lOOl E+SAL .65 ZEIG 



VO 2998 V SAL .60 

VO 3490 N SAL I .40 

PA E 2792 N SAL I .10 

PAE 2242 N SAL I . 10 

POLYOOR N SAL 1.25 

BRE 3 1 65 N SAL I .10 

8RE 3 |64 N SAL I . 10 

BRE 2065 N SAL I 



. i : 



JEEPERS CREEPERS/CALLED SW I NG OE 2267 N SAL 1.25 

FR I V FRAU SAUCE/WONT BE SA T SF I E0E23496 N SAL 1.00 

S*ING U CATS/SN (BALL BBCIC225 N SAL 1.50 

SWAROUST/WRAP TROUBLES OREAUS CO 378CS N SAL I .00 

DALLAS BL/BASSIE COULDNT OK 8774E/VAUC 

FRED AST* I HE 

UY TEMPTATION VI 243|2 E T— A 

ARMSTRONG AIR SHOTS FROM BLUE NOTE CHICAGO 



MOUL 
ZE IG 

WEIN 
WEI N 

WE I N 
VEIN 
«EIN 
WE I N 
WEIN 
SCHU 
ZAWA 
SCHU 
PARR 



SAL I .50 WE I N 
SAL 1.50 WEIN 
SAL I .50 WE IN 



1ITH TEA, -MNES,BIGARQ, C XT LETT 
THAT HOW JAZZ BORN/BASIN ST BL 
UUSKRAT RAMBLE (2 SIDES) 
ROYAL GARDEN/HIGH SOCIETY 

IRv I NG AARONSON ORCH 
GIVE ME UKElElE/evERYTHING PEACHES VI 20381 AUC NMACG 
WAFFLEs/w I LD ABOUT ANIMAL VI 20094 N AUC 

LONELY WITHOUT u/u BELIEVE IN VI 20095 N AUC 
LETS Ml SBEHAVE/AND FURTMERMOREV I 2|260 N AUC 
SCA NO A NA V I A N G|Rl/u SWEET VI 2 I 778 N AUC 

EVENING STAR/(haMp) JAPAMSY VI 2|45| N AUC 

LOVIE AUSTINS BLUES SERENADERS 



MACG 
MACG 
MACG 
MACG 
MACG 



ACC V.BAR T— BL V THE SINFUL FIVE 


M 


12351 


N 


T— A 


LUBI 


MILDRED BA 1 LEY 












LOVER COME: 3ACK/S0 PEACEFUL 


DE 


3953 


N 


AUC 


CAYU 


ROCKIN CHAlR/sOkETIMES IM HAP 


DE 


3755 


N 


AUC 


CAYU 


HONEYSUCKLE R06E/W 1 LLOW TREE 


OE 


181O8 


E+AUC 


CAYU 


BOY IN HARLEm/hOW CAN { NORVO ) 


BR 


8089 


N 


AUC 


CAYU 


HONEYSUCKLE R06E/WILL0W TREE 


PAE 


2201 


N 


SAL 


1 .00 WEIN 



OE 7506 E SAL I . 1 5 ZEIG 

VI20I756 N SAL 1.25 ZAWA 

3B 10172 N SAL 1.50 SCHU 

BB 1 0 1 3 I N SAL 1.50 SCHU 

OUS 3 N SAL I .00 FORR 



DEC 


1 |4|N 


SAL 


1 .50 


ZAWA 


OEC 


2355 N 


SAL 


1 .50 


ZAWA 


DEC 


2722 N 


SAL 


1.50 


ZAWA 


OK 


622l N 


SAL 


1 .00 


SCHU 



3757 E AUC 
3347 E AUC 



BLUE LU BARKER 
OONT U MAKE ME HIGh/b & 0 

CHARLIE BARNET 
REOSK IN PUMBA/C^EROXEE 
JJMP SESSION/SWING ST STR'IT 
KNOCKIN FAMOUS DOOR/TI N R 

JOHN BARRYMORE 
TO BE OR NOT TO BE FAI 

COUNT BASIE 
HON*EY 6UCKLE ROSE/ROSELAND 
BOOGIE WOOGIE/HOW LONG BL 
HEY LAWOY MAMA/THE FIVES 
DOWN DOWN DOWN/u BETCHA MY 

NORA BATES 

LOVIN SAM/OADDYS GOIN HUNT I N 
LOVE NIGHTs/l COULD HAVE 

SIDNEY BECHET 

THE MOOCHE/BL IN A IR 
V I PER MAD/(AL8ERT AMMONS) 
BBY PLEASE COME HOME 
INOIAN SUMMER/PEACHIN BL 
SLIPPIN SLID in/a INT GONNA 
TEXAS MOANER/RIP UP JOINT 



SWING PARADE/SAVE IT MAMA 
GEORGIA CABIN/lM COMIN VA 
NEW COMPLETE FEETWARMERS SET 
COMPLETE BRAND NEW SET OF |6 
INDIAN SUMi.'Efi/pREACH IN BL 
SAT NIGHT 3l/b£CHETS STEADY 
3I< 

BECA6UE MY BABv/jUST LIKE ( +"CR ) CO I 44l e/nT-A 
GEORGIE PORGIE/hAVE NO IDEA CO |49|e/vT-A 
COQUETTE/DOLLY DIMPLES 



CAYU 
MOUL 



v 1 20 1 5 1 0 


N 


AUC 




PIKE 


DEC 


3521 


N 


SAL 


1 .50 


ZAWA 


HMV 


9385 


N 


SAL 


1 .10 


WEIN 


HMV 


906 1 


N 


SAL 


1.25 


WEIN 


HMV 


9368 


N 


SAL 


1 .10 


WE 1 N 


HMV 


9474 


N 


SAL 


1.25 


WEIN 


NEHMV 


9378 




SAL 


1 .25 


WEI N 


HMV 


9402 


N 


SAL 


1 .10 


WEIN 


GRF 


8664 


N 


SAL 


1.25 


WEIN 


HMV 




N 


SAL 


8 25 


COHE 


BB 


10633 


E 


SAL 


1.75 


SCHU 


BN 


502 


N 


SAL 


1.25 


SCHU 



WANG 
WANG 



VI 2i30ie/vt-a 



25 



COM I NUED 
HOOSIER SWEETHEART 
LOOK AT WORLD AND SMILE 
BACK YARD/SUNSH I NE 
IDOL I Zl NG/HUSHABYE 

GOOSE pimples/trumbology 

JAZZ BAND /SORRY 

BIG BOY/jAZZ ME 8L 

TIGER RAG/COPENHAGEN 

ROYAL GARDEN BL/FIDGETY FEET 

FLOCK 0 BL/lM GLAD 

DAVENPOKT BL/WASHBOARD 

RHYTHU K|N*g/feELIN NO PAIN 

margie/louisiana 

DEEP DOWN SOUTh/( VENUT I 1 
DAVENPORT 3L/(HITCHES Hap) 
GRAEME BELL 



VI 2047ie/vT-a. 

VI 20472V /ET-A 

VI 2l240v/ET-A- 

vi 20270v/et-a- 

PAE 2465 N SAL 
PAE 27 1 1 N SAL 
BBE 2203 N SAL 
BRE 2205 N SAL 
BRE 2204 N SAL 
BRE 2207 N SAL 
BRE 2206 N SAL 
PAE 2269 N SAL 
PAE 2883 N SAL 
VI 23018 E AUC - 
DESW2206 N SAL I 



— WANG 
WANG 

— WANG 

— WANG 

. 10 WEIN 
. lO WEI N 
.25 WE I N 
.25 WE IN 
.25 WE IN 
.25 WEIN 
.25 WEIN 
.10 WEIN 
.10 WEIN 

ZEIG 

.75 CHIN 



FREE MANS BL (OL ) 


TEMPO AO 


N 


S-A 


2.50 


CO"E 


JACKASS BL (OL) 


TEMPO A8 


N 


S-A 


2.50 


COOE 


SOUTH 


ES 10007 


N 


S-A 


2.50 


COOE 


COME BACK SWEET PAPA 


ES lOOll 


N 


S-A 


2.50 


COOE 



ALL THE SENSATIONAL RELEASES FROM FRANCE 

ON THE ORIGINAL FR PACIFIC LABELS N AUC 

BENSON ORCH 



VI I 9 I 36 E AUC 



FOOLISH CHILD/THAT OLD GANG 

BUNNY BER I GAN 

JAZZ ME BL/BE SOME CHANGES VI 26244v/ETSA — 

FATHER DEAR FA THER/WARN I NG TO V| 2606|n/vSAL I 

BEN BERN IE 

ILL GET BY/GLAO RAG DOLL BR 4|68 N SAL — 
BABY OH WHERE CAN U BE/MOONB r A BR 4438 N AUC — 

MAKIN WHOOPEE/lM BR I NG I N RED BR 4|42 N AUC — 

PLEASE LET ME DREAm/hERE WE ARE BR 4385 N AUC — 
CHU RERR 

BLOW IN UP BREEZE/MONDAY CMS 541 E+SAL 

BIG BILL CHICAGO 5 



GLIB 

50 SCHU 

PHIL 

PHIL 

PHIL 

PHIL 



OK 6T388 G AUC WARR 

VR 525 E AUC 2.00 PARR 

JB 502 G AUC 

CO 356*78 N SAL 

BRE 102 G AUC 




tell me baby/feel so good 

barney bigard 
frolic sam/clouds in heart 

BLUES WOMAN 
v00 voo it/cry in bl 

sharkey bonano 
high society/im satisfied 

BOSwELL SISTERS 
I 2* SURRENDER DEAR /STARDUST 

WILL BRADLEY 

SLEEPY TIME GAL/wHO TRUN TO CO 36470 E T-A WANG 

DOWN RD A PIECE/CELERY STALKS CO 35707 N SAL 1.25 SCHU 
FANNY BR ICE 

MY MAN VI 2||68 N AUC MACG 

E . BURNETTS L. A . Bl LTOMORE ORCH 

WEDDIN PAINTED DOLL/LOVEBO A T BR 4232 N AUC PHIL 

SINGIN IN RAIN/ORIG BLOSSOM BR 4375 N AUC PHIL 

PARADE OF BL/REACH FOR RA I NBOWBR 4634 N AUC PHIL 

U WERE MEANT FOR ME/BW MEDLEY BR 423 1 N AUC RAIL 

WHERE SHY VIOLETS GROw/SALLY TRI08R4I85N AUC PHIL 

ERSKINE BUTTERF IELD 



300G WOOG BARCAROLLE/FON 

DON BYAS-TYREE GLENN 
MAD MONK/BILLIES BOUNTE 
RED CROSS/WALTZING AROUND 
WORKING EYES/GLORIA 



JD 8192 N SAL .55 SCHU 



25 N SAL I , 
24 N SAL I , 



BLST 
BLST 
BLST 232 N SAL 



BODY SOUL/BEGINriNG SEE LIGHT SW 235 N SAL I 
PEANUT BUTTER Bl/mOHAWK SP 
HOW HIGH MOON/DYNAMO 

CALIFORNIA RAMBLERS 
HOT LIPS/NOBODY LIED 



SW 241 N SAL I 

BLST 29 MSA L I 

VO |4384 N AUC — 

VO 14436 N AUC — 

VO 14300 N AUC — 



OK 6442 


E 


AUC 




MARC 


RO 1482 


N 


AUC 




LEVI 


PAE 2491 


N 


SAL 


1 .25 


WEIN 


CO 37312 




AUC 




CIAR 


VO 5315 


N 


SAL 


1 .00 


SCHU 



fISTER KATE/LONESOME MAMA 
MAMMY KNOWS/EDDIE LEONARD BL 

CAB CALLOWAV 
B' 1 . night/say who/say u 

HAPPY FEET/(wHOOPEE MAKERS ) 
GHOST CHANCE/WILI OW WEEP FOR 
HI OE HO MAN/NECESSITY 
VUELVA/CHILI CON CONGA 

UNA MAE CARLISLE 
SAD BUT TRUE/BLI TZKRE IG BABY 
WALKIN BY RIVER/j ME t U 

CARTERS ORCH 
OLD VA MOON/CALIF SUNSHINE 

BENNY CARTES 
OUT OF H'Y *Ay/*HATLL BE 
DEVILS HOLIDAY/SYMPHONIC RIFFSCOE 698 N AUC 3 
JUMP CALL/PATIENCE FORTITUDE DX 1008 N SAL I 

HAVE 4 CUTOUTS ON COE SAL I 

ILKA CHASE 

FAMOUS 



10 WEIN 

10 WEIN 

10 WEI N 

10 WEIN 

10 WEI N 

10 WEIN 

DYMI 

DYM I 

DYM I 



BB I I |20 N AUC 
BB I 1033 E+AUC 



4664 N AUC 



226 N SAL 



MARC 
MARC 



,00 WEIN 

00 PARR 

,00 SCHU 

75 COOE 



THE PICNIC 

MAUR ICE CHEVALIER 
U BROUGHT NEw/LIVIN IN SUN 

E.C.COBB CORN EATERS 
BARREL HOUSE ST/TRANS STOMP 

GEORGE II. TO.HV: 
L I FES FUNNY PROPOSITION 
IM MIGHTY GLAD IM LIVU.N 

KING COLE TRIO 
ALBUM t 2 



N SAL 1 .00 FORR 



HMV 35i7e/vauc 



vi 38023 N T-A 



VI 60042 N AUC 
VI 60044 N AUC 



- WARR 
LUBI 



DYM I 
DYM I 



CP BD20 N-SAL 1.75 MOUL 



RUSS COL UMBO 



PAE 952 N SAL 1.25 WEIN 



VI 20777 N AUC 



27634, 27635, 27636, 27637 

EDDIE CONDON QUATET 
I ND I ANA/OH BABY 

ZEZ CONFREY 
KITTEN ON KEYS 

PRES COOLIOGE/COL LINDBERGH 
COOLIOGE WELCOME/COL. REPLY ( 3 ) V I 35836 E SAL 

SAM COSLOw 

KING FOR A DAY VI 2 1 63 1 N SAL 

NOEL COWARD 



N SAL .75 COTT 



DONT BE BEASTLY TO GERMANS/ 

THE WELCOME LAND CAN VI (o.P.)e AUC 

Bl NG CROSBY 

U BEAUTIFUL TON I Te/( LOMBA R0 0 ) BR 6477 G+S-A 4.00 

blue-black label-ask for list de sal 

black moonlight/st dreams 
shine/some these days 
thanks/temptat I ON 

SWEET GA BROWN/AFTER SUN 
MANY ON FOREIGN LABELS 
GIVE ME HEART/' I'M.' IN S I NG 1 1" 
LET ME WHISPER/SWING LOW 



COE 2085 N SAL- I .50 
COE 1845 N SAL 1.50 
COE 2056 N SAL 1.50 
COE 1 88 1 N SAL I .50 

SEND FOR LIST 

MF I? Iff E+TRA 

OE I 81 9 E TRA 

JUST GIGOLO/RAP TROUBLES IN DRVI 22701 N SAL 3.00 



DE E-NSAL 

DE 2237 N SAL I .50 

DE 2678 N SAL I .50 

DE 2001 N SAL I .50 

DE 870 N SAL 2.00 

DE I I 75 N SAL I .75 

DE I 5 1 8 E SAL I .50 

DE 886 N SAL 2.00 

DE 3540 N SAL I .25 

DE 3541 N SAL I .25 

vi 20679 N AUC 

VI 20882 N AUC 



BLUE DE. SEND FOR LIST 
BLOOM ON SAGE/LONELY t RA I L 
REST END TRAIl/gOLD MINE IN 
MEXACALI ROSE/SILVER SAGE 
EMPTY SADDLES/ROUNDUP LULL 
SWEET LELANl/i>L HAWAII 
WHEN U DREAM HAWA I I 
HAWAIIAN PARADISE/SOUTH SEA 
SWING LOW SWEET/DARLING 
ONE ROSE/LONESOME RO 
MAGNOLIA 
THE CALINDA 

WINGIN HOME/WITH SOMEBODY ELSEVI 2 1 365 N AUC 
LONELY EYES/WISTFUL AND BL VI 204 1 8 N AUC 
GRI EV I NG 

AFRAI D OF U/llY PET 
WONT BE LONG NOW 

NIGHTINGALE SANG DE 
MAN AND DREAM/GO FLY KITE DE 
STARDUST/uE P PURPLE DE 
SURRENDER DEAr/|T MUST BE DE 
HAWAIIAN CHIMEs/LITTLE OE 
DANCING UNDER STARS/PAL ACE IN DE 
SONG I SLANCXS/ALOWA DE 
U ARE MY SUNSHI NE/RI D IN DOWN DE 
SANTA FE TRAIL/LONE STAR TR DE 
SIERRA SUE/MARCH I TA DE 



VI 2 1 678 N AUC 

VI 2 1 339 N AUC 

VI 20883 N AUC 

DE 3584 N SAL I .25 

DE 2641 N SAL 11.50 

DE 2374 N SAL I .50 

DE 2535 N SAL I .50 

DE I 845 N SAL I .75 

|6|6 N SAL I .75 

880 N sal 2.00 
3952v/nsal 1.25 
4201 n sal I .25 
3|33 N SAL I .25 



MOMENT LIFETIME/NO TE IMPORTE DE 3965 N SAL 1.00 



dolores/camptown races 
blserenade/sposin 

PENNIES FR HEt. VEN (|2") 1-2 



DE 3644 E SAL I .00 
DE 3543 N SAL .1 .25 
DE 15027 N SAL 2.00 



BINS CROSBY TEST PRESSINGS 



ROUNDUP LULLABYE 
AMONG MY SOUVENI RS 
DOES HEART BEAT FOR ME 
SOUTH SEA ISLAND 
FALLING IN LOVE 
SILVER ON SAGE 
BLUE HAW'i I I 

BOB CROSBY 



DLA 1636N SAL I .75 

WL4276TI AN SAL I .75 

WL4278TIAN 'SAL 1.75 

DLA 522 N SAL I .75 

DLA 1625 N SAL I .75 

DLA I 3 1 4 N SAL I .75 

DLA 723 N SAL 1 .75 



SUNSET AT SEA/SIG NOISE W I NNETKA0E35I I E BUC 
DE 3248E/GTSA 
DE E/NSAL 

de 3834v/esal 

DE 2 1 08 E T-A 



ALL BY SELF/SPA IN 
BLUE DE-SEND FOR LIST 
YANCEY SPECIAl/iDOT R I CE ) 
BIG FT JUMP/5 PT BL 

VERNON DALHART 
WRECK 97/pn I S0NERS SI NG VI 19427 E AUC 

DEATH FLOYD COLL I NS/iHENA ND0AHV I 19779 E AUC 
MANY MORE OF SAME TYPE LET ME HEAR FROM YOU 

PUTNEY DANDR IDGE 
HERE COMES PAPPl/l^ *E NEVER VO 3291 N SAL 1.40 
JOE DANIELS 

DRUMMER GOES T0Wn/( BEN POLL A CK )dEC3686 N SAL 2.00 
DRUMMER MAN D I X I e/( WEEMS ) DEC 3687 N SAL 2.00 

DELTA FOUR (ELDR IBGE ) 
SW INGIN FAOUS DOOR /FAREWELL 

AL DEXTER 
PISTOL PACK IN MAMa/rOSAL I TA 

DIXIE DA ISEYS 
GIVE ME WHAT I WANT/SLOW U CA 7501 n/eaUC- 

D IX IE RHYTHM KIN3S (SIMEON) 

7 1 I 5 N T-A - 



COOE 
COOE 
CHI N 
CH IN 
CH IN 
CHIN 
CH IN 
POUL 
POUL 
LEVI 
GOTT 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
MACG 
MACG 
MACG 
MACG 
MACG 
MACG 
MACG 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 

SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 
SCHU 

MOUL 
GL I 3 
GOTT 
ZEIG 
HEWE 

■ MCRE 
r^MCRE 
MCRE 



ZAWA 
ZA'.VA 



737 E SAL 2.00 SCHU 



6708g/vsal .75 SCHU 



THE CHANtTcONGO LOVE SONG 
EASY RIDER/STORY BOOK BALI. 

JOHNNY DODDS 
AFTER U GONE/STOMP STOMP 
STACK 0 LEE/MELANCHOLY 
WILD MAN/29TH DEARBORN 
SHAKE YOUR CAN/BL GALORE 
MY BABY/ORIENTAL MAN 

BABY POODS 
WOLVERINE Bl/|MPR0V # I 



3R 7 1 27 N T-/ 

BR 80074 N SAL I .15 

DE 1676 E SAL I .90 

DE 2 I I I E+SAL I .90 

DE 74I3N/ESAL 1.90 

BRS 5 N SAL 1.05 



LUBI 
LUBI 

ZEIG 
ZEIG 
ZEIG 
ZEIG 
BOLL 



lOOl N SAL .90 M1UL 



26 



J iMMY DORSEY 
WHAT MAKES SAMMY /MURDER I ST 
CHARLESTON ALl-Ey/sP . 1 1 TS GOT 

aurora/sar BABBLE 

DOlOM I TE/hEP TEE HOOT I E 

I LET SONG/l r U WERE 

1 GOT RHYTHM/FLIGHT OF BB 

OORSEY DERVISh/seRENADE 

DUSK UPPER SANDUSKY /OARKTOWN 

DIXIELAND DETOUR/BODY SOUL 

TOMMY DORSEY 
ALBUM P 80 

SERENADE TO SPOT,/aNOTHER ONE 

27876, 27887, 26666, 20|7|0 
25275, 25326, 25657, 27782 

MAP..E LEAF RAG/jAMBOREE 

sleep/wake UP 
so what/quiet please 
have 40-some Sinatra, ziggy 
then ill be happy/song is u 
send for list-gold label 
cocktails for 2/0l0 black 

OPUS l/l OREAM OF U 

0 I PSY dooole/who 

DARK EYES/BLUE DANUBE 
nola/satan TAKES H0LI0AY 
well/get it/somewhere VOICE 
OSLO DRAG5PEL0RKESTER 

TIGER RAG/BYE BYE BL 
DUKE OF WINDSOR 

ABOI CAT I ON SPEECH 
SONNY DUNHAM 



DC 


4536 


e+auc 





MOUL 


DE 


4075 


N 


AUG 




MOUL 




3772 


E 


SAL 


• 60 


MOUL 


D E 


3312 


E 


SAL 


.60 


MOUL 


OE 


1909 


E 


SAL 


.65 


MOUL 


DE 


1508 


E 


AUC 





MOUL 


DE 


1334 


E 


AUC 





MOUL 


OE 


1939 


E 


AUC 





MOUL 


DE 


2735 


E 


SAL 


.90 


MOUL 


VI 


P-80 


E 


SAw 


1.75 


MOUL 


VI 


27374 




SAL 


1.00 


MOUL 


V 1 




E 


SAL 


.60 


MOUL 


V 1 




E 


SAL 


.55 


MOUL 


VI 


25496 


E 


SAL 


1 .00 


MOUL 


VI 


25573 


E 


XJC 




MOUL 


86 


10810 


N 


SAL 


1 .25 


ZAWA 


V 1 






SAL 




COOE 


-' 1 


20l 938n 


AUC 




CIAR 


VI 




:/nsal 




GOTT 



VI 26|45 ESAL 1.00 SCHU 
VI 20 1 608 E SAL I.OOSCHU 
VI 25693V/GSAL .75 SCHU 

vi 25556 V SAL .75 schu 

VI 25570V/GSAL 1.00 SCHU 
VI 27887G/VSAL .75 SCHU 

SOSW 805 1 N SA_ 1.75 PHOS 



KUGEL 



N SAL 2.00 FORR 



I I I 48 N SAL .65 ZEIG 



1 03 G AUC 



BAR BABBLE/THROWING PEBBLES BB 

MONTE EASTER 

AINTCHS GLAD/EMPTY BEO BLSTE9LING 

CLIFF EDWARDS 

SOPHOMORE PROM/REACH I NG FOR S.O.CO I980N AUC — 

HANG ON TO ME/jUST U JUST ME CO 1 7 1 7 N AUC — 

HAPPY LITTLE THING/sONG TO CO 2235 N AUC — 

ME AND MAN MOOn/gOOD LITTLE CO I 705 N AUC — 
HAVE MANY ON PATHE ( PLAY ON ANY PHONOGRAPH ) AUC— 

DUKE ELLINGTON 

RING DEM BELLS/3 L I TTLE WORDS VI 25076 E AUC — 

JACK THE BEAR/MORNING GLORY VI 26536 N AUC 

DOUBLE CHECK STOMP/OLD MAN BL BB 6450 N AUC — 

MISTY MORN I NG /6ARAT0GA SWING BB 6565n/eaUC — 

ITS glory/saratoga SWING B8 i0245n/eauc — 

SUNNY SIDE STREET (2 SIDES JAM SESSION) 

(AIHSHOT HODGES, BROWN WUCA 12/23/48) SAL I. 

transblucency/cotton TAIL (WEBSTER) ( " )SAL I. 

BIG HOUSE BL/R MACKENZIE PA E 1044 N T-A — 

BLACK AND BL/jUNGLE JAM BRE 2701 N T-A — 

ITS GLORY /SARATOGA SWING BB 10245 N SAL . 

I MUST HAVE THAT MAn/baNOANNA VI 38007 V+AUC — 

3REAHFAST 0 A NCE/FLAM I NG YOUTH BB 10243 E AUC — 

SEGER ELLIS 



WHATS THE USE/l r I COULD BE 

ZIGGY ELMAN 
ZAGGIN WITH ZIG/YOURE MINE 

SLEEPY JOHN E3TES 
MARRIED WOMAN/DEEP DOWN MA.JlA 

RUTH ETT I NG 
SWANE E SHORE/ONC 



OK 4|452 N AJC 



V IC I 03 I 6 N SAL 1.25 ZAWA 



BRE 3562 N I. 10 SAL WE IN 



AGA I N 

JIM EUROPES HELL F IG 
MEAN TROMBONE/MEMPHIS BL 



CO i7075f/pauc 



PA T2208JN TRA 
ARTHUR FIELOS (BLUES SINGER) 
STEP PEPPER STEPPER/SPONGY BABYOK 5727 E+AUC 

OWIGHT F I SKE ( I 2* ) 
CLARISSA THE.FLEA/lDA THE WAY Fl 3|00 N AUC 
ADAM EVE/ANTHONY AND CLEO Fl 36 103 N AUC 

ELLA F ITZGERLAO ORCH 
SUGAR BL/lMAG INA Tl ON 



DYMI 
DYM I 



3078 E TSA 

3968 N AUC 



GL I 3 
MARC 



I GOT IT 8Ad/mALINDA THE MOUSEDE 
CHUCK FOSTER 

ROLL I T OVER/WHO TOOK ME HOME MER 3007 E AUC CAYU 

BLIND BOY FULLER 

TRUCK I N MY BL AWAy/bOOTS AND SH0EME70763e/nAUC MARC 

BABY PUT LOWOOWN/u GOT 

if u pigmeat/why DONT BABY 
LOWELL FULSON 

MEAN WOMAN BL/FULSOMS BOOGIE SB I I 3 F SAL .50 WARR 
GEORGIA SYNCOPATORS (ELLINGTON) 



IM SO IN LOVE/LOVELESS LOVE 

TOM QERUN ORCH 
EVERY NOW THEN/lM IN LOVE BR 
NEW STEP/WEB OF LOVE BR 
IF I COULD BE WITH u/b I G BOUQUBR 
AM I BL/LET ME HAVE DREAMS BR 
GOOD OLD SOUTh/oW OF DREAMS BR 

GENE G I FFORO ORCH 
squareface/king porter(bg ) 

DIZZY GILLESPIE 
hot house/salt peanuts 
groovin high/bl and boog 

JEAN GOLDKETTE 



ME 12444 N AJC 



4520 


N 


AUC 


PHIL 


45 19 


N 


AUC 


PHIL 


4895 


N 


AUC 


— — PHIL 


4429 


N 


AUC 


— PHIL 


4277 


N 


AUC 


PHIL 



HMV 8374 N SAL 1.25 WE IN 



1003 
1001 



TSA 
TSA 



GLIB 
GLIB 



LONESOME SORRY/GIMME 



VI 20031 E AUC 



BR 3975 V TSA 

VI 22074 V TRA 

VI 2 1437 E TRA 

VI 20425 E TRA 

vi 2i94ie/ntra 

HMV 8872 N SAL 2.50 

HMV 8957 N SAL 2.50 

vi 25796 N sal .90 



benny goodman 
blue/shirt tail st 
bashful baby 

singapore sorrows/sweet sue 
hes last word 
louise/ma cher ie 
bl your flat/my flat 
sugar/opus 3/4 
sing sing sing 
my sister and i /not complaininco 36022 n sal 1.50 
poor butterfly/grand slam co 36722 e sal 1.00 

SUNNY 3S I OE St/aLL I NEED IS U CO 366 1 7 N SAL 1.00 
SOMEBODY NOBODY/LETS OK 6562E/NSAL I .00 

yours/take IT CO 36037 V AUC — — 

ALEX RAGTIME BANd/RIFFIN RITZ VI 25445'N AUC i 

D INAH 7 MO0NGL0W (QUAR) VI 25398 N AUC 

AFTER AWHILE/MUSKRAT RAMBLE BR 80028 N AUC — — 
BL MY FLAT 

BUGLE CALL RAG/hDUSE HOP 
SWINGTIME ROCKI Es/FOUNF 

GOOFUS FIVE 
CERTAIN/THEN ILL BE HAPPY 

JIMMY GORDON ( BL SINGER 



HMV 8872 N SAL I .00 
GRF 8300 N SAL I .00 

VI 25355 N SAL 1.00 



GL I 8 
WANG 
WANG 
WANG 
WANG 
PARR 
PARR 
ZEIG 
SCHU 
SCHU 
SCHU 
SCHU 
CAYU 
CAYU 
CAYU 
CAYU 
WEIN 
WE IN 
WEI N 



PAE 5578 N SAL 1.00 WEIN 



ACTION SPEAKS L 1UDER /DADDY 
GLEN GRAY CASA LOMA 

MANIACS BALL/BLACK JAZZ 
LIONEL HAMPTON 



DE 7839 N AUC 



8R 



6242 V SAL I .00 WE IN 



BRE 3341 E SAL I .00 

GRF 8375 N SAL I .00 

OE 18754 E SAL .80 

vi 25592 E sal .80 

SAL I .25 

sal 1.25 

HMV 18 N SAL 2.50 

HMV 9475 N T-A 

v i 25535 N sal I .50 

vi 26595 E sal I .50 

VI 26652 N SAL 1.50 

VI 25666 N SAL 1.50 

VI 25586 N SAL 1.50 



BR 


431 6 


N 


AUC 




PH 1 L 


BR 


4273 


N 


AUC 




PHIL 


BR 


4246 


N 


AUC 




PHIL 


DE r 


3881 


N 


SAL 


1.50 


ZAWA 


PAE 


2007 


N 


SAL 


1 .10 


WE IN 


HMV 


9087 


N 


SAL 


1 .10 


WE 1 N 


SW 


1 


N 


SAL 


1 .10 


WE IN 


OK 


6 284 


N 


SAL 


I.i5 


ZEIG 


BB 


10693 


N 


SAL 


1 .40 


ZEIG 



SOUTHERN ECHOS/MY WISH 
PIANO STOMP/DRUM STOMP 
HEY BOB A REBOP/SL I DE 
SUNNY SIDE S'/l KNOW THAT 
NEW LOOK (2 SIDES)AIRSHOT l2/l5/48 
GLADYS IDEA (2 SIDES) (*) 
HOT MAL,LETS/SHUFFL I N AT 
MEMORIES OF u/ JUMP I N JIVE 
JIVIN VIBES/STOMP 
FLYING HOME/SAVE IT MAMA 
JACK THE BELLBOY/CENTRAL AVE 
I SURRENDER DEAR/PIANO ST 
CHINA STOMP/RHYTHM 

BOB HARING 
BYE BYE SWEETHEARt/BSTRO LOV 
SOME SWEET OAy/wEARY RIVER 
WEDDING BELLS BREAKING UP 

COLEMAN HAWKINS 
HONEYSUCKLE ROSE/NETCHAS 
LADY BE GOOd/lULLABYE 
BOUNCING WITH BEAN/DAY IS 



BOUNCIN BEAN/DAY IS DONE 

ERSKINE HAWKINS 
CHERRY/COUMTRY BOY 

HEADQUARTERS FOR IMPORTED SETS 
CLAUDE LUTER— S I DNEY BECHE T-ME Z ZROW-LA ON I ER 
GRAEME 8ELL-WUQGSY SPAN I ER RAGT I MERS-JELLY ROLL 
GUARANTEED BRAND NEW UNPLAYED RECORDS. THE BEST 

HORACE HE IDT 
GOLOEN GATE/WONDERFUL WEDD I N 
LITTLE SIR ECHO/STOP CLOCK 

FLETCHER HENDERSON 
VARIETY STOMP/ 6T LOUIS SHUF 
DO 'DOODLE OOM/DICTY BL 
NEW KIND MAN/MEANEST KIND 
MONEY Bl/|LL TAKE HER BACK 
TNT/CnUOLf I9A ST ( RM CH ) 
JAC.<ASS BL/STAMPEOE 
ST LOUIS SHUFF/VARIETY ST 
CLAR MARM/HOT MUSTARD 

WOODY HERMAN 
HAVE 9 FOR SALE 

36789, 36861, 36949, 36968 

FAN IT/bL0WI|\1 UP STORM 

36785, 36803, 368 1 5, 36835 

U NEVER KNOW/LA ZY RHAPSOOY 

MILT HERTH TRIO 
SHOOT THE L I KKER/EGYPT I AN EL 

EDDIE HEYWOOD 



WEIN 
WE I N 
WEIN 
WE I N 
■El N 
WEIN 
PARR 
A IRE 
SCHU 
SCHU 

sc:ju 

SCHU 
SCHU 



BB3008I9 E SAL 



SA-'E YOUR SODROw/TAINT ME 

RICHARD H I I/8ER 
LAST GOODBYE/LUCKY DEVIL 
NIGHT ONOESERT/ROLLIN HOME 
WHAT CAN U SAY/U ARE BUILDER 
LETS TAKE WALK/FUN TO FOOLED 

EARL HINES 
JELLY JELLY/FALL IN FOR U 
STRMY M0NDAV/2ND BALCONY 
MAPLE LEAF RAG/SW GA BROWN 

BILLIE HOLIDAY 
CARELES LOVE/ST LOUIS BL 

BOB HOWARD 
ANY RAGS/KENTUCKY SURE AS 
JACK HYLTON 

MY SUNSHINE/GOOONITE SWEET I 2" 
Bl TTER SWEET 1-2 I 2" 



VI 


21310 


N 


AUC 




MACG 


BR 


8309 


E 


AUC 




MARC 


BB 


10246 


N 


S-A 


1.50 


LEVI 


VO 


14654 


E 


AUC 




DYM 1 


VO 


14880 


E 


AUC 




DYMI 


CO 


383 


N 


AUC 




DYMI 


CO 


509 


E 


AUC 




DYM 1 


CO 


654 


E 


AUC 




DYMI 


BB 


10246 


N 


SAL 


2.00 


SCHU 


BR 


3406V/EAUC 




HANR 


DE 






SAL 




■COOE 


CO 




N 


SAL 


.60 


MOUL 


CO 


37059 


N 


SAL 


.65 


MOUL 


CO 




E 


SAL 


.55 


MOUL 


DE 


381 3 


N 


SAL 


1 .00 


SCHU 


«DE 


1368 


E 


AUC 




PI KE 


CMS 


554 


E 


SAL 


.65 


ZE 1 G 


VI 


26257 


E 


AUC 




MARC 


VI 


24662 


E 


AUC 




COCH 


VI 


24679 


V 


AUC 




COCH 


VI 


24680 


N 


AUC 




COCH 


8B 


1 1065 


E 


SAL 


1 .00 


WEIN 


BB 


11567 


E 


SAL 


1.00 


WE 1 N 


BRE 


1995 


E 


SAL 


1.25 


WEIN 


OK 


6064 


N 


SAL 


1 .40 


ZEIG 


DE 




N 


AUC 




PIKE 


DEE 


622 


E 


AUC 




WARR 


HMV 


1727 


N 


AUC 




WARR 



HYLTON CQHT I MUED 
I KISSED HAND/WHEN ELSER BL |2*HUV|6|6E AUC 
JUST GIGOLO/YOURE HEART ALONE VI 36031 N AUC 
SOLI TUDE/ROSE ROOM YIE25555 N AUC 

ILLINOIS JACQUET 
JUMP IN JACQUET /BL MOOO SA 593 N SAL 

HARRY JAMES 

TUXEDO JUNCTION/PALM PARADISE VS 8l94 N- SAL 
HOW HIGH MOON/ON A LIMB VS 822l N SAL 

HEADIN HALLEL JAh/aLICE BLUE VS 820l N SAL 
THE MOLE/NOT FOR ME (F0RRE6T) CO 36599 E+AUC 
SINNER KISSED ANGEL/U MADE ME CO 36296E/EAUC 



— WARR 

WARR 

MARC 

.75 SCHU 



ONE DOZ ROSES/TOO GOOD 

FREDDY JOHNSON 
HARLEM BOUND/SWEET MADNESS 
TIGER RAG/1 GOT RHYTHM 

CURT IS JONES 
U GOT BUS INESS/LONESOME 8E0 

LOUIS JORDAN 
FLATFACE/DUG JITTERBUG 



CO 36566 E AUC 

DEE 38|0 N SAL 
DEE 5110 N 8AL 

VO 3756V/FAUC 

DE 7590 V SAL 




I . 10 WEIN 
I .10 WEIN 



JUNGLE BAND 
12 ST RAG/ROCK IN RHYTHM 

ROGER WOLFE KAHN 

HOURS SPENT WITH u/oLO GUI VI 21078 E SAL 

AMONG SOUVENIRS/wHATLL U D0( HAMP )v I 2 1 084V AUC 

IRVING KAUFMAN 
PITTS PA/GALLAGHER SHEAN 

GRETA KELLER 
MOODS/ 3 RECORD ALBUM 

STAN KENTON 



6038 N SAL 



222 




ASCH I 0 I N STA 

OE 25304N AUC 
DEC 10379 N SAL 
0ECI0378 N SAL 



REED RAPTURE/CONCERTO FOR 
REED RAPTURE/EL CH I CO 
LAMENTO G I TANO/CONCERTO FOR 

KENTUCKY COLONELS 
LEARN TO DO 6 TRUT/6TEPP I N VO |47|4 N AUC 

MAMA LOVES PAPA/sONG FOR SALE VO 14697 N AUC 

ANDY KIRK 

MCGHEE SPECIAL/HEY LAWDY DE 4405 E AUC 

■HEN I' 6A* U/LITTLE MISS DE 349l N SAL 

BENNIE KRUEQER 
STEPPIN OUT/HONEY BA8E( LYMAN ) BR 2563E/VAUC 

QENE KRUPA 

BL RHYTHM FANTASY 1-2 
WIRE BRU6H STOMP/sUGAR FT 
COPPIN A PLEA/vlOLETS 
PERFIDI A/NEVER TOOK LESSON 
LADY 1*1 LOVE/SOME LIKE IT 

FRANK IE LAINE 
AINT THAT JUST LIKE/SEPT 
THATS MY DESIRE/RIVER ST MAR 

LEROYS BUDDY 
CHATEAU BL/NE» TOO MUCH TR 

MEADE LUX LEWIS 
YANCEY SPEC/CELESTE BL 

TED LEWIS 

JUST GIGOLO/BETTER TIMES 
ROYAL GARDEN BL/WABASH BL 
ONE MORE TIME/HO HUM 

NISSE LINDS HOT TRIO 

TIGER RA G/HOT ACCORD I AN 

LITTLE RAMBLERS 
cotton/truck I n (inoia) 

CRIPPLE CLARENCE LOFTON 
the fives/south end BOOQ 

ELLA LOGAN 



.75 SCHU 
MOUL 



' WARR 

— ■ ARR 
2.00 ZAWA 
2.00 ZAWA 

DYMI 
DYM I 



PAE 


2765 N SAL 


1.00 


•EIN 




N SAL 


1 .10 


WEIN 


OK 


6498 N AUC 




MOUL 


OK 


57|5 E SAL 


.65 


ZEI G 


6R 


8340 N AUC 




PARR 


HER 


5003 E SAL 


.60 MOUL 


KER 


5007 N SAL 


.60 


MOUL 


DE 


7690 N AUC 




PIKE 


DE 


819 E+SAL 


.65 


MOUL 


CO 


2378v/eauc 




HENR 


OK 


4 1579 N AUC 




ZEIG 


CO 


2452E/VAUC 




ZEIG 


sa 


3486 N SAL 


1.75 


PROS 


TWIN 1950 N SAL 


1.10 


■ EIN 


8E 


10002 E AUC 




MOUL 


BR 


8057 V+6AL 


1 .00 


SCHU 


VO 


2848 N SAL 


.65 


ZEI 3 


VI 


2I346E+ auc 




OSTR 



OH DEAR WHAT CAN MATTER 
GUY LOMBARDO 

ST LOUIS 8L/I LOVE U TRULY 

LOU IS IANA SUGAR BABES 

THOU SWELL/PERSIAN RUG 

JIMMY LUNCEFORD 

margi e/shi p at sea oe i6i7v/etra 

river st mar i e /melancholy babyde i 808 e tra 

nana/otis regrets oe i 3 1 n tra 

linger awhile/count me out a de i 229e/ntra 

EASTER P»RAOe/|M ALONE CO 35484 N SAL 

NELLIE LUTCHER 




CP 40063 N AUC 



SONG 1 S ENDED/00 U DONT U 

CLAUDE LUTER 
THE COMPLETE BRAND NEW SET OF lO DISCS 
ON THE ORIGINAL FRENCH LABELS 
HIGH SOCIETY/WEST END BL PAC 9000 

ROYAL GARDEN BL PAC90008 
MUSKRAT RAMBLE S« 272 

CARELESS LOVE BL S* 262 

ABE LYMAN 



MISSOURI SCRAMBLE/MORNING 

WINGIE MANONE 
IM IN LOVE/YOUR ANGEL 
ROYAL GARDEN Bl/zERO 

PAUL MARES 
NAGASAKI /LAND OF DREAMS 
MAPLE LEAF RAG/rE I NL I.1NAT I ON 

35686, 35880 

FREDDY MARTIN 

SPEAK EASY/EASY TO LOVE 



vo 2933 



N 


AUC 




COHE 


9x 


S-A 


2.50 


COOE 


N 


S-A 


2.50 


COOE 


N 


S-A 


2.50 


COOE 


N 


S-A 


2.50 


COOE 


E+SAL 


.65 


ZEIG 


E 


AUC 




ZEI G 


E+AUC 




ZEI 3 


N 


SAL 


1 .40 


ZEI a 


N 


SAL 


1 .40 


ZEI G 


N 


T-A 




HE«E 


N 


SAL 


.65 


ZEIG 



n 



MARY fm : H 

LUCKY TO BE Me/lONELY TOSN DE 23395 N AUC IARR 

TOTTI MRU!. 

SOMCBOOY ELSE TAKING PL»CE DE 4111 E+AUC MARC 

CLYDE WC COY 

sugar bl/tear it down de 38i n sal #65 zeig 

tC KINNEYS COTTjN PICKERS 
PC««y/|D LOVE IT B3 10706 E TSA 

■xmphis five 

AOOBMVATIN PAPA/4 OCL 8L VO 14506 N AUC 

MORE TKAH SA T | SFI ED/aNQEL I HE VI I 57l 2 E AUC 

STOP KIOOm/bRKIMO DOS VO 1 446 1 N AUC 

GREAT MITE BAY BL/SHUrrLIN ED 5l204e/VAUC 

nrrROpQ. itan opera Mouse esquire jamm. se 

I944L0UIS. ELDRIDSE, HAWKINS, HAMPTON, ETC . 

AIR$HQTS 
BLUES/ESQU I RE BOUNCE 
TEA FOB TWO 1-2 
•OP MP 1-2 

VEZZROl LAONISR 
ROYAL GARDEN BL/lF u 
REVOLUTIONARY 3L 'SETTI , 

COMPLETE BRAND NEB SET OF 8 XIV N SAL t 

FREE MEW GIFT DISC • I TM ABOVE SET N 

BwBBCR Ml LEY 
DMLf RC/04L MEMPHIS vi 36 1 38 n auc — 

007. NN MILLER 



GL I B 

DYM I 
DYMI 
DYU I 

HENR 

SSI ON 



SAL I 

SAL I , 

SAL I i 

*V 94 1 6 N SAL I, 

HMV 9470 N SAL I , 



50 WEIN 
50 IE IN 
50 IEIN 

10 WEIN 
lO >EIN 

I 5 COME 
COHE 



■BITE FOB LIST M*VE BB , VI, HMV 




SAL 




COOE 


• ITTIM ON TOP WBLd/pES 0 MY 


OECI I0l3 


N 


SAL 


2.00 


ZABA 


AMOELS MERCY /PRCS BIBTHOAY BA 


BB 1 1492 


N 


SAL 


I.2S 


ZABA 


BILL ALBAY6 BEMEMBES 


sfi I 1493 


N 


SAL 


1.25 


ZABA 


■OOMLIOHT SE»ENAOC/«JNR 1 SE SERVIC|02|4 


N 


SAL 


1.25 


ZABA 


OL SLACK JOE>AME BELIEVE BALLVIC|09|3 


N 


SAL 


1 .25 


ZABA 


SPRING BE 6A0/PCRFIOIA 


V i c 1 1 095 


N 


SAL 


1.25 


ZABA 


BOULOER BUFF/BOOGIE BOOB IE 


VIC! 1163 


N 


SAL 


1.25 


ZABA 


TAKE A TBA 1 n/| SUESB 


v I c 1 M 87 


N 


SAL 


1.25 


ZABA 


BL MOONL 1 SMT^tV PRAYER 


SB 10404 


V 


AUC 




PIKE 


SEND FOR LIST AND PRICE 


Be i 


/nsal 




GOTT 


MOONLIGHT/SUMP ISC 


BB 10? 1 4 


N 


SAL 


.90 


ZEIG 


JINGLE B£LLs/(rCy) 


BB I 1 353v/nsal 


.95 


ZEIG 


»*» johhmy /assembly LINE 


BS l |480 


N 


SAL 


.90 


ZEIG 


mo. baltz/bcautiful ohio 


99 10587 


V 


SAL 


1.00 


SCHU 


BTVWUST/WlaMCHOLY BABY 


Be 10965 


N 


SAL 


1.50 


SCHU 


BLACK RAOIC/PINK COCKTAIL 


Vi20l523 


N 


SAL 


1 .00 


SCHU 



DE 


2029 E 


AUC 


MCBE 


DE 


2804 E 


AUC 


MCRE 


DE 


338) £ 


AUC 


MCRE 


OC 


3545 E 


BUC 


M CRE 


OE 


32 25e 


AUC 


MCBE 



vi 27925n/esal I .00 schu 



RAY MILLER 

I OUT ROBES/GARDEN MCMOR I ESBB43SZ N AUC 
ROSE BAMD*LAY/rHO SOULONT BR 4|3| N AUC 

HE SHE ME/bAcTZ COULDNT FORGETS* 4258 N AUC 

■ ILL? BLUE RWTTHB) BANC 
•ALL BONA Cv/SARR EL MOUSE CO 3 1 36 N AUC 

IN BENT (MENTAL UOOO/CARRY HE CS 3 1 48 N At': 

MILLS BROTHERS 
just kio namec/fuhicli 
■eet me tonight i h dreamland 
bhen u bbcet 1 6 

BY BATERMtXON VINE/lINDY LOU 
MY BAL SAl/DREM OF U 

MEMPHIS OINWIE 
BANTS CAKE BHEN HUNGRy/l I V I NG BE V03768e/na JC 

VAMttHN MONBQE 
MY OEVOT IOn/bYUM I BROB UP 

RtWCHQUSC/j. HLIIAIB5 
MY GAL SAl/sTAIRBAY PARADISE 

BOA NO IT/VET IN RIO 
SVRRBCR SBUVEHI r/tREAT SBCETH 
OARCINO ON DIME/l HEAR MUSIC 
SMALL FRV/LAUOH CALL IT LOVE 

JELLY ROIL OORTON 

MR JELLY L RD/n|SHT MAMA 
SMOBXM0U8E Bl/sTEAMBOAT STRUT 

high society/buooy BOLOEN 

BEST END BL/CLIMAX RAG 
JUMBLE 8l/bILDMAN (VINYLITE 
COMPLETE BRA NO NCR SET OF 6 

HOUND CITY BLUE BLOWERS 

BNAT DO I CARc/(oRAG CM MLB ) 
ARKANSAS Bl/sl BLUES 
BARB B I BE Sl/mOTHIN I BANT 

MB, mWi 8BSH 

bala i s glide medley i-2 hmv 5325 n auc 

BOM IB DOME/ 1 MB I ANA SaCETH£ARTHMv3ae2 E AUC 
NOB ©BY FAULT/(OLBCm) HMV 5633 E AUC 

parted/dream mother hmv 5675y/eauc 

lomcly meet/lets make bcmor i ehnv 5542 v auc 
•mile bm8ic plays^iama maria hmv s7|7 h auc 



THATS A plCnty/t I N ROOF 
IM AM TOM I 0 BHOUT/jAZZ ME 
OUST BF F P I AHO/lS IHCt BE FELL 
FAREWELL BL /ECCENTRIC 

pamara/tibc* RAS 

RUBLE CALL RAG/SAN 

nti jg£B| 818 8538 

GA TOBOMTM^EBO I 00 



PHIL 
PHIL 



VR 


638 


N SAL 


1.15 


ZEIG 


DE 


3625 


E+AUC 




MARC 


DE 


2053 


E AUC 




MARC 


DC 


3419 


E AUC 




MARC 


DC 


1935 


E AUC 




MARC 


BR 


80040 


N SAL 


1.15 


ZEIG 


BB 


8372 


E+6AL 


2.15 


ZEt G 


BB 


10434 


E+6AL 


2.15 


ZEIG 


BB 


i0442e/vsal 


1 .90 


ZEIG 




4 


N SAL 


1.05 


BOLL 


HMV 




N SAL 


t II 


COHE 


bue 


2507 


N SAL 


1 .00 


BE 1 N 


BP 


2581 


V AUC 




HENB 


BR 


2648 


E AUC 




HENB 



VARR 
VARR 
VARR 
VA RR 
VARR 
VARR 



BRE 


2208 


N 


SAL 


1.25 


BE 1 N 


BRE 


20*0 


N 


SAL 


1 .25 


■ EIN 


BRE 


2006 


N 


SAL 


1.25 


SEI N 


BRE 


22 1 1 


N 


SAL 


1 .25 REIN 


BRE 


221 2 


N 


SAL 


1.25 


BE 1 N 


■RE 


2213 


N 


SAL 


1.25 


BE IN 


CO 


698 


V 


AUC 


4.00 


LEVI 



FRANK NE1TC" 

TA3S BL/FRANKIES JUMP VO 482IE/N6AL I 

RED NICHOLS 

HOT L I Ps/pA RADE WOODEN SOLD I ERSBB I 0360 G SAL I 

GERTRUDE NEISEN 

BE STILL MY HEAST/cONTI NENTAL CO 2972 E AUC - 



LATIN MANHATTAn/m IDDLE OF A 

N»V NOBLE 

TIGER RA3/jAPANESE SAND 
MOON COUNTRy/hAPPY 
PLEASE DONT (DIG)/paGAN MOON 



CO 3047 N AUC 



VI 24577 N SAL 
HMV 65©" V AUC 

HMV 62i9g/eauc 
goodnight/shout for hap(ed ch)hmv 5984v/eauc 



NASTY MAN/HOLD MY HAND 
TOP HAT/PI COL I NO (DIG) 
STAY RIGHT S I DE/( GA RBER ) 
WITH LOVE/mY GIRL DONT 

J IMMY NOONE 
BUMP IT/(D0DDs) 



HMV 6499 V AUC 
VI 2~>094e/vauC 
VI 24375p/vauc 
HMV 6157 V AUC 



DEC 35 1 9 N SAL 1.25 ZABA 




RED NORVO 

YOUR SO DESIRABLE/3 LITTLE FISHV04785 N AUC 
COOKOO IN CLOCK^ELL NEVER VO 4698 E AUC 

NOTRE DAME UNIVERSITY BAND 



V l | 9932 E AUC 



VI 16786 E AUC 
CO 1204 E AUC 



N.D. VICTORY MARCH/HIKE 

II ll qakaano 

SILVER THREAD AMONG GOLD 
MOTHER MACREE/BENN CHUMS 50 
MANY MORE SEND ME YOUR BANTS 
OOJB 

MABGI E/PALE8TEENA 
KING OLIVER 
CAN I TELL U/OOOO MAN SAM 
BEATHEBBIRD RAG/jUST GONE 

0 ippermouth/bhere DID U stay(viny )BRS2 N SAL I 
ID ORY 

AIRSHOTS WITH CABEY NOONE ETC SEASONABLE 

OBY CBEOLE TRAM/SOCIETY BL PX 3 N SAL I 

HOT LIPS PAGE 

I A I NT GOT NOBODY/GONE WITH OE 77|4 N SAL 
PARENTIS LIBERTY SVNCOPATORS 



' MOUL 
' MOUL 



■ MCRE 

■ MCRE 

■ MCRE 



VI |87I7v/esal .75 PIKE 

VI 36049 V AUCN 
BRE 2203 N 6AL I . 



CO 545 E AUC 

OK 40308V/EAUC 
VI 19698 E AUC 



MIDNIGHT PAPA/CABARET ECH06 
C ABA BET ECHOS/THATS A PLENTY 
LA VIDA/BE YOURSELF 

HARRY PARRY 
LIZA/AFTER U GONE 

TONY PASTOR 

PA RAO I DOLE JOe/aDIOS BB I|008g/vSAL I 

JOSE GONZALES/PLEASE NO SQUEEZEVI 201 693G/VSAL 
MR ZIP ZIP ZIP BB II452V/ESAL I 

BEN POLLACK 

SING SONG SIXPENCE/AS LONG AS DE 2006 N AUC — 

LOUIS PRIMA 



LEVI 
■05 GLOB 



01 HI 

■ DYM | 
OYM I 



PA E 3047 N S-A 2,50 PARR 



,00 SCHU 
,75 SCHU 
,00 SCHU 



MA J 7|79 N SAL I 
MA J I I 45 N SAL I , 



DE 2974 N AUC 



PICKLE IN UIODLE/COME RAIN 
CECEL I A/THERES THAT LONELY 

MAE OUESTEL 
U BE SURPRI 6ED/0H GEE G06H 

BOYD RAEBURN 

BOYDS NEST/u CAME ALONG 
MARCH SOYOs/sUMMERTIVE 

LOU ISE RAINER 
GREAT Z I EGFELO FAM 2 N SAL 

RED AND BIS TEN (NICHOLS) 
TICKLED PINK/WHERE SOUTH BEG I NSV I 23026 V+AJC 

DAVE ROSE 

FILM FAVORITES ALBUM 4 RECOROSVI 136 N STA 



I 33 N AUC 
III E AUC 



poi c i ana/dance spanish 

harry roy 
Ring porter/san sue strut 
80uthpaw 8peci al/gander on a 
tiger rag/can cap ers 

AL SACK 

VELVET MOODS ALBUM 4 RECORDS BB 

JAN SAVITT 
JOLLY PETER/BY HECK DE 

HANS SCHRE IBER I 2" 
TIGER RAC./SMOKE GETS SW SONOBA 

MABEL SCOTT 



vi 27S88e/vsal I 



00 SCHU 
00 SCHU 



■ MOUL 

■ MOUL 



.00 FORR 
ZEI G 



WA RR 

.00 SCHU 



PAE 


1 158 


N 


SAL 


1 .35 


CHIN 


PAE 


2 |26 


N 


SAL 


1 .35 


CHIN 


PAE 


1919 


N 


SAL 


1.75 


CHIN 



' MARC 



MIGHTY LIKE Bl/mOPE THAN 

RAYMOND SCOTT 

SYMPHONY UNDER STARs/CATER 

QENE SEDRIC HONEYBEARS 

CLAR BL/hONEYSUCKLE R08E 

abvo SENTER 

WASHBOARD Bl/gOIN TENNESSEE 
B088 OF STOMPs/enI ALE BL 
COPENHAOEn/beALE ST BL 

TERRY SHAND 
SOUTHERN FBIE0/6CBAMBLEB 

ART IE SUA! 
GBAB TOWN QBAPPLE/SAD SACK 

pyramid/this BOMANCE 
ni ghtmabe/non stop flight 
SIX JOLLY JESTERS 

OKLAHOMA ST0UP ( JUN I E COSB ) 

BESSIE SMITH 

ANY WOMAN Bl/cEMETERY BL 



5001 N SAL 3.00 PRES 

PAE 1125 N SAL 1.00 WE IN 

OE i8264n/vsal I .00 SCHU 

23 I N SAL I . 10 WE I N 



8W 

VI 2 1 864 V+TRA 

VO 3061 V+TRA 

BB 6050 E+T-A 



POUL 
POUL 
POUL 



DE 3472 N SAL .90 ZEI G 



VI20I647 N AUC 
VI 27343 E SAL 
BB 7875 V SAL 



CIAR 

.00 SCHU 
.75 SCHU 



VO I449N/VTRA POUL 

COF 2| 7 N SAL I . 10 WEIN 



BE 55 1 E SMITH CONT INUEO 

ST LOUIS BL/COLO IN HAND COF 2 1 8 N SAL 

HAVE 4 PAE, I FR COL SAL 

DOWN HEARTED 8L/GULF COAST CO 3344 E AUC 

BYE BYE Bl/wEEPING WILLOW CO 1 4042 E AUC 

SORROWFUL BL/ROCKIN CHAIR CO 14020 E AUC 

FARAWAY BL/lM GOIN BACK CO 13007 E AUC 

JA3B0 SMITH 

RHYTHM IN SPA|n/m0RE RAIN MOREOE 198^ E+AUC 

STUFF SV. ITH 

IT AINT IGHT/HITTIN JUG VOE 72 N SAL 

TRIX IE SMITH JAZZ MASTERS 

MY MAN ROCKS ME/dVE ME SLOW BS |4|27 E+AUC 

MJGGSY SPAN IER 
R I VER80A T SHUFFLE/RELAX I N TOUROBB 1 0532 E TRA 

COMPLETE RAGT IMERS SET OF 8 HMV N SAL 

FREE NEW GIFT 0 1 SC WITH ABOVE SET N 

ANY AND ALL HMV N AUC 

SPIRITUAL S I NQERS 

SWING LOW CHARIOT/ROLL JORDAN ROHA |4| E AUC 

CHARLIE SPIVAK 

MINNA/WEEK END HAVANA OK 64|5 N SAL 

BILL STEGHEVER OCTET 

SENTIMENTAL JOURNEY /FRANT I C SG I 50 I 4 E+SAL 

REX STEBART 

FINESSE/l KNOW U KNOW SW 70 N SAL 

S.STEWART a. E. GARNER 

HOP SKIP JUMP/3 BLIND MICESKY MAN I 0 1 2 E SAL 

SLAM STEWART 
CONTINENTAL 10000-1-2-4-5 CON E SAL 

STUYVESANT STOMPERS 

SHINE/BLUE TAIL FLY PX I N SAL 

JOE SULLIVAN & JOE TURNER 

LOWDOWN DIRTY Sh/cANT GIVE U PAE 2773 N SAL 

MAX INE SULLIVAN 



LOCH LOUONO/lM COM I N VA 

SAUMY SWIFTS JAZZ 8 AND 
FAREWELL Bl/wET YO THUMB 

ROOSEVELT SYKES 

3RD DEGREE Bl/lET HAVE WAY 
ERSKINE TATE (LOUIS) 
STAT I C STRUT/STOMP OFF 



OK 3654 N SAL 



BS 2|25 E+AUC 



OK 6542 N AUC 



1.25 WEIN 

COOE 

MCRE 

MCRE 

MCRE 

MCRE 



I .00 WE I N 

OSTR 

MARC 

i 1 5 COHE 

COHE 

PARR 

PIKE 

I .00 SCHU 

.55 ZEIG 

I .00 WEIN 

.70 MOUL 

.55 MOUL 

1.05 GLOB 

I .25 WEI N 

I .00 SCHU 

OSTR 

■ MARC 



BRE 3594 N AUC 3.00 PARR 

BB 10969 N AUC MOUL 

DE 4409 N SAL I .50 SCHU 

RO I453N/EAUC LEVI 



TEAGARDEN WITH WH I TEMAN 
FARE THEE WELl/xmAS NIGHT 

JACK TEAGARDEN 
PRELUDE TO Bl/bl 

TEN BLACK BERRIES 
TIGER RAG/ST LOUIS BL 

TENNESSEE TOOTERS 

PRINCE WAILS/NOBODY TO LOVE VO 14952 E AUC DYMI 

EVERYBODY LOVES BABY/jA CKSONV I LVO 1 4985 E AUC OYM I 

HAD A SWEET MAMA/CHARLESTON VO 15086 E AUC OYM I 

FRANCHOT TONE 

ENGLAND MY ENGLAND FAM I N SAL I .00 FORR 

FRANK IE TRUMBAUER 



LOVE AFFAIRS/TAKE YOUR TOMORR OK 4||45 E+AUC 
COMIN VA/ALEX RAG(MIFF) CO 36280 N SAL 

VARSITY 8/BOB HAR IMG 
I LIKE U BEST/DOO DAB CA I 358E/FAUC 

FATS WALLER 

AINT M I SBEh/gEORGI A ROCK IN BB 10288 N SAL 

FRED WARING 

COLLEGE MEDLEY 1-2 VI 24169 N SAL 

WASHBOARD RHYTHM KINGS 
PRETTY GIRL/SHOUTIN IN A.M. HMV 8655 SAL I. 
WHO STOLE LOCK/PLEASE TELL ME REE 283 N SAL 

WASHBOARD SAM 

STOP FIX IT/GOOD OL CABBAGE 
I LAID MY CARDS/BL AT 
GONNA KEEP/SERVE IT RIGHT 
NOT THE LAD/FEELIN LOWDOWN 

WASHBOARD WONDERS 
DONT FORGET TO MESs/BORDELLO 

LU BATTERS 
ALL WHITE LABEL 

TED WEEMS 

RAINBOW ON RIVER/HEY BABE 

DICKY WELLS 

BUGLE CALL RAG/BETWEEN DEVIL 

JOSH WHITE 
STRANGE FRUIT/HOUSE RAISIN 

PAUL WH ITEMAN 
MEDLEY HIT ( RED MCKENZIE) 
HAVE 8-NO BIX OR BINQ 
WHEN/( SHI LKRET ) 
WONT BE LONG NOw/5 STEP 
EVERYBODY STEP/KA LU A 
SUNSHINE/BACK IN BACK YARD 
JEEPERS CREEP Rs/MUT I NY IN 

WHOOPEE MAKERS 
HUMPTY DUMP TY BABY .CALLOWAY) RO 1482 N AUC 

LEE W I LEY 



ZEIG 

I .00 SCHU 

HENR 

.60 MOUL 

.65 ZEIG 

10 N WEIN 
I . 10 WEI N 




DE 969E/VAUC 



BRE 3749 N SAL 



VI 36199 N SAL 

VI SAL 

vi 2i338v/esal 

VI 20883 N SAL 

vi 18826 E sal 

VI 21240 E ' AL 

DE 2222 V SAL 



HERE IN MY ARMS/BABYS AWAKE GALA 

CLARENCE WILLIAMS 

PAPA DE DADA/BA8Y WONT U PL RO 



I .50 COOE 

COOE 

I .75 SCHU 

1 .25 schu 

.75 SCHU 
2.00 SCHU 
.75 SCHU 

LEVI 

.90 ZEIG 

OSTR 



28 



COOTIE IILLIAMS 

ROUND MIDNI GHT/SOMEBODYS GO HIT 7||9e/vSAL 1.00 
TE3SES TORCH SONG/NOW I KNOW HIT 7075 G SAL .75 

RED Bl/aINT WHAT HIT 7084 G SAL .75 

MARY LOU WILLIAMS 

HOMIMY GRITS/MUST BE TRUE V|202|74 E SAL .50 
GARLAND WILSON (PIANO SOLOS ) 



SCHU 
SCHU 
SCHU 



BRE 1476 N T-A 
BRE 3 I 1 5 N T-A 



MU N5 E SAL 2.00 

CO 35737 N SAL I .75 



BL C FLAT/GET UP BESSIE 
JUST A MOOD/ONE OF THOSE 

TEDDY W ILSON 
ALL STAR ALBUM 
COCOANUT GROVE/71 

BOB ZURKE 

ON LITTLE STREET/CUBAN BOOGIE VI 26411 E AUC 
HOLY SMOKES/SOMEBODY TOLD ME VI 26446 E AUC 

BARGAIN BASEMENT LIST 
JAZZ SWING BOP 1929-1945 TOPS 

BLUES RECORDS 
MANY SEND FOR LIST ALL SAL 

CATALOGS 



A I RE 
A I RE 



MOUL 
ZEIG 



MOUL 
MOUL 



TRA 
TRA 
TRA 



ONLY ON MY WANTS— 



MUSICA I 92 I 
EDISON 1920 
VICTOR I 9 1 7—1 923 
THESE CATALOGS FOR TRADF 
CUT OUTS 

ALL ITEMS ON JOE DAVIS LABEL. COLEMAN HAWKINS 
W.THOMAS, UNA MAE CARL I SLE/FRANK SIGNORELLI, 
ERSKINE BUTTERF I ELD, GENE ROGERS, DERI CK 
SAMPSO.M, CHAMPION JACK DUP REE, W I NG I E MAN ONE, 
SINGIN SAM, MARION ANDERSON, BETTY THORNTON ETC 

JD N SAL .60 

DISPOSITION LIST 



HOFF 
HOFF 
HOFF 
HOFF 



HAVE 12 PAGES WRITE FOR IT 

HILLBILLY 
CO, VI OK, EARLY IN LOTS 

RECORD SALE LIST 
SEND NOW FOR BIG BARGAIN LIST 

RECORD STOCK ENVELOPES 



SAL 



N SAL .15 PHIL 



|0" BROWN 


PER 


100 






N 


SAL 2.10 


GLOB 






1000 






N 


SAL1 9.25 


GLOB 


GREEN 


PER 


100 






N 


SAL 2.20 


GLOB 






1000 






N 


SAL20.00 


GLOB 


1 2" BROWN 


PER 


25 






N 


SAL „80 


GLOB 






50 






N 


SAL 1.40 


GLOB 






100 






N 


SAL 2.65 


GLOB 


GREEN 


PER 


25 






N 


SAL .90 


GLOB 






50 






N 


SAL 1 .50 


GLOB 






100 






N 


SAL 2.75 


GLOB 


SHI PPI NG 


CHARGES COLLECT 


10^ PKG 


CHG» — 






(JLOB 



SOME BARGAINS LEFT 

DID U GET MY LIST WHY DELAY 

THEME SONGS 



HENRY K I NG-BL S ERENADE 
KEN GRIFFIN-BALLAD TO LOVELY 
FRANCES CRA I G— RED ROSE 
GENE AUSTIN-MY BL HEAVEN 
LANG THOMPSON-U DARLIN 
LANG THOMPSON— U DARLIN 
RAY MC K I NLEY— HOWDY FRIENDS 
T TEXAS TYLER— REMEMBER ME 
UOHNNY SCAT DAV I S— HOORAY FOR 
CLYDE MCCOY— SUGAR BL 
JAN GARBER-MY DEAR 

WANT LIST 
25000 OUT OF PRINT DISCS 

WOODEN SHIPPING BOXES 
FOR FOREIGN SHIPMENTS HOLDS 25 RECORDS 

WANTE D 



ME 


51 IS N 


BAL 


.79 


PIPE 


BW 


865 N 


SAL 


.79 


PIPE 


BR 


416 N 


SAL 


.79 


PIPE 


BU 


1007 N 


SAL 


.79 


P 1 PE 


UN 


100 N 


SAL 


.79 


PIPE 


RO 


146 N 


SAL 


.79 


PIPE 


RE 


122 N 


SAL 


.79 


PIPE 


MA 


721 1 1 N 


SAL 


.79 


P 1 PE 


4s 


1008 N 


SAL 


.79 


P 1 PE 


UN 


|7 N 


SAL 


.79 


P IPE 


ME 


5| 1 8 N 


SAL 


.79 


PIPE 


CA 


|5305n/esal 


.79 


PIPE 










AVER 



SAL 3.00 PROS 



FIRST TOUR LETTERS OF COLLECTOR'S NAME 
FOR ADDRESSES SEE PAGE . 



3 jPRICE OFFERED FOR RECORD 
2 ^CATALOGUE NUMBER OF RECORD 
1 [LABEL OF RECORD 




LOU IS ARMSTRONG 



HOTTER THAN THAT/sAVOY E 


OK 


8535 


GOLD 


GULLY LOW (ANY LABEL) V 






GOLD 


BRUNSWICK ALBUM N 






COOE 


ARMSTRONG ACCOMPANIMENTS 








BLANCHE CALLOWAY-LONESOME LOVESI CKN 


OK 


8279 


OWEN 


CHIPPIE HILL-LOWLAND BL N 


OK 


8273 


BWEN 


LONESOME ALL ALONE BL 


rJOK 


8339 


DWEN 


PRATT CITY BL N 


OK 


8420 


DWEN 


LOVESI CK BL N 


OK 


8453 


DWEN 


MAGGIE JONES— GOOD TIME FLAT BL N 


CO 


14055 


DWEN 


BESSIE SMI TH— CARELESS LOVE N 


CO 


14083 


DWEN 


NASHVILLE WOMAN N 


CO 


14090 


DWEN 


HOCIEL THOMAS-OEEP WATER N 


OK 


8297 


DWEN 


CLARA SM 1 TH— COURTHOUSE BL N 


CO 


14073 


OWEN 



LOU IS ACC CONT INUED 
CLARA SMITH -SHIPWRECKED BL N 
SIPPIE WALLACE'MAIL TRAIN BL N 
SPECIAL DEL I V BL 
NOLAN WELSH— OR I DWELL BL N 

MILDRED BAILEY 
CROWN 103,4,5,6 E 

SIDNEY BECHET 



CO 14077 

OK 8345 

OK 8328 

OK 8372 



DWEN 
DWEN 
DWEN 
DWEN 



MANY SEND LIST PRICE COND 

BLUES SINGERS 
ALICE MOORE-BLACK EVIL N DE 
LIL JOHNSON— RAMBLI N MAN N VO 
VICTORIA SP IVEY-MOANI N BL N BB 
DETROIT MOAN N VO 
GOOD CABBAGE N VO 
SIP°IE WALLACE-BEDROOM BL N OK 
MORNING DOVE BL N OK 
MARGARET JOHNSON — PAPA MAMA ALL ALONEOK 

BROWNLEE ORCH N.O. 
peculiar/dirty RAG V OK 

ROY BUTLET 
IN BAGGAGE COACH V MAD 

CANNON JUG STOMPERS 
ALL N-t VI 

MILTON CHARLES! ORGAN) 
ANY N-UINT CO 

TOM DICKSON 
happy blues/death bell N OK 

DODDS 

WEARY Bl/n/o. STOMP V 
OH DADDY 

BUCKTOWN ST/BL WASHBOARD E 
MEMPHIS SHAKE E 
MANY OTHERS VI, BR , CO V 

EDDIE DUNSTEDTER (ORGAN) 
ANY N-MINT 

DUKE ELLINGTON 
SCROUNCH/IF u werein 
let song/gal from joe 
pyramid/when my sugar 

WATERMEL 'N MAn/lOVE IN 
CARL FENT ON ORCH 
SWEET SUE 

AFTER LAUGH CAME TEARS 

KttM .non'.'V. 

MAKE BELIEVE 
ALWAYS ALWAYS E 
TIPITIPITIN E 

JOHNNY GUARNAR I 
MA J 1032, 35, 1226 E 

GLENN HARDMAN HAMU.OND FIVE 
EXACTLY L I KE u/wHO E 
TOGER RAG/PUT ON OLD E 
UPRIGHT ORGAN BL/jAZZ ME BL E 
CHINA BOY/SUNNY SIDE ST E 

COLEMAN HAWK INS 
HEARTBEAT BL E 
WONT BE LONG NOW E 

HALFWAY HOUSE ORCH 
PUSSY CAT RAG/BARATARIA G 
MAPLE LEAF RAt/lET ME V 

MONK HAZELS ORCH 
SIZZLIN BL/HIGH SOCIETY V 

ideas/get WITH IT V 
HORACE HE IDT ORCH 



7028 
3331 
8619 
3405 
3639 
8439 
8205 
8 1 85 



OWEN 

DWEN 

DWEN 

DWEN 

DWEN 

% I 0 DWEN 
S 10 DWEN 
DWEN 

— FERT 

I . 25 OU I N 

2.50 HEWE 

HOFF 



VO 


15632 


GOLD 


VPM 


12471 


GOLD 


BB 


8549 


GOLD 


VI 


20415 


GOLD 






GOLD 



N 


BR 


8093 


— — A 1 RE 


N 


BR 


8108 


— — A 1 RE 


N 


BR 


8|68 


AIRE 


N 


BR 


8200 


- AIRE 



FERT 
FERT 



E 


VI 


25089 


HAM 1 




VI 


25808 


HAMI 




VI 


25814 


HAMI 



VO 497 1 
CO 35221 
CO 35263 
CO 35341 

OK 4|566 
VO 14682 

OK 40318 
CO 476 

BR 4|8| 

BR 4| 82 



POUL 
POUL 
POUL 
POUL 

HAMI 
HAMI 

FERT 
FERT 

FERT 
FERT 



ANY BUT 20608-21 3 1 0-2 1 957-22222 
BERTHA CHIPPIE HILL 

ANY PLEASE SEND PRICE V 
JACK IE BOY 



AU- 



LA BELS VS ROY ETC 

BLIND LEMON JEFFERSON 




RICHARD M. JONES JAZZ WIZARDS 
TROUBLE I N Ml ND/ V 
ANY WITH BAND STATE PRICES V 
MUSHMOUTH Bl/k|N TO CANT E 
BABY TO ME E 
DUSTY BOTTOM BL/SAGAMORE GREEN V 

CHARLES KALEY ORCH 
MILLION TO I /THE DEWDEWDEW DEWEY E 

JACK KAUFMAN 
LOVE THAT GIRL/THATS WEAKBESS V 

HAL KEMP 



8349 
8390 
8431 



HOW ILL Ml SS U 

GENE KRUPA 



SWING IS HERE E 

MUTINY IN PARLOR E 

HOPE GABRIEL LIKE MUSIC E 

LAMPLfGHTER ALL STARS 
LL 1 04^ I 10 

GEORGE LEWIS N.O. STOMPERS 
DONT GO WAY/CARELESS LOVE N 

WING IE MA NONE ORCH 



JUST ONE GIRL/SHES CRY IN 
ROYAL GARDEN BL/ZERO V 



CO 1055 
RO 3198 

OK 4|337 

hmv 8432 
yf 25263 
VI 25276 



OK 4|569 
OK 41570 



LUBI 
LUBI 
GOLD 
GOLD 
GOLD 

I .50 QUIN 

I .00 QUIN 

COCH 

2.00 HAMI 
I .50 HAM I 
I .50 HAMI 



FERT 
FERT 



BABY ROSE MARIE 
ANY E 

UNCLE DAVE MA SON 
CUMBERLAND MT DEER RACE V 

MCK I NNEYS COTTON PICKERS 
MOST ON V I N 

MEMPHIS JUG BAND 
MANY OK, VI N-E 

GLENN M ILLER 
LITTLE SPANISH TOWN V 

JELLY ROLL MORTON 



MANY SEND LIST AND PRICE AND COND 
SOMEDAY SWEETHEA RT/OR I G BL E 
W1LDMAN BL/JUNGLE BL E 
GRANDPA SPELLS/CANNON BALL E 
BEBLE ST PERILS E 

BENNY MOTEN K.C. ORCH 
GOOFY DUST— OTHERS V 
NO LATER VI 20900 STATE PRICE 

RAY NOBLE ( NEW MAYFAIR) 
ROLL ALONG COVERED WAGON/JOYCE E 
ST LOUIS BL/wAY DOWN YONDER E 
WHY STARS COME OUT E 
DINAH/BUGLE CALL RAG E 

casanova(selections) E 

MOTHER PEARLS (SELECTIONS) E 
KERNS MELODIES 1-2 E 
CAT AND F'lDDLE SELECTIONS 1-2 E 
CAVALCADE MARTIAL SONGS E 
SAME S WE USED TO BE E 
PUZZLE RECORD 1-2 E 
LADY SPAIN/VALLEY OR JONES E 
TRY LITTLE TENDERNESS E 
LESS THAN DUSt/TEMPLE BELLS E 
SONG WITHOUT WORDs/MY SONG E 
SPANISH EYES/THATS WHAT LIFE IS E 
WHAT NOw/GIVE ME HEART E 
FLOWERS FOR MADAm/cLOUDS E 

K I NG PL IVER 
tears/buddys habits V 

WHERE DID YOU/DI PPERMOUTH V-G, 

vo |0|4, 1049, 1 01 4 E 

REV. D.C.RICE CONGREGATION 

ANY E 

ON THE BATTLEFIELD E4- 

RUSSIAN BALALAIKA 
POPULAR NEAPOLITAN MEl/LOVE MONEY 
BRAVO E 

SIX JUMPING JACKS 
RAH RAH RAH/CLICK E 



MANY CH AND GE 

BESSIE TUCKER 

ALL ABOUT 38018 
VARSITY 7 



SCRATCH MY BACK E 
EASY RIDER E 

WASHBOARD RHYTHM KINGS 
ST LOUIS BL E 

OL MAN BL/DOG CAT E , 

LAZY BONES/M I SS I SSIPPI E 

OL .MAN BL/DOG CAT E 

DONT MEAN TH I NG/SENT I MENTAL GENT 

SCAT SONG/SOMEONE STOLE E 

OH U SWEET THING E 

ANGEL I NE E 

WA DE DA E 

OLD YAZOO E 

SPIDER CRAWL E 

LEARN CROON/l COVER E 

LAZY BONES/ MISSISSIPPI E 

ETHEL WATERS 
LONG LEAN LANKY M AM A V 

TEDDY WILSON 
this yrs kisses/aint got e 
suns howers/yours mine e 
never be same/found new baby e 
last impressions of/dp ams come 
evrybody l^ughi ng/here it e 
APRIL \n heart/never FAIL U E 

SAY IT WITH KISS/THEY SAY E 

J IMMY YANCEY 
35th dearborn e 
send card stating price wanted 

any record i ng group 
ballin the jack 
1930-34 songs write for list 

CATALOGS 
GE 1920-21 
OK 1926-33 
BR 1926-36 
VI 26-32-33-35 

CO 1932 GENERAL 
CO 1933 GENERAL 
HMV PRE WAR 





1 .50 


MAYE 


VI 


274 — 




ANDE 









A 1 RE 








2.00 


HEWE 


CO 






COCH 


— 

VI 




20405 





GLI B 
GOLD 


BB 


1 0256 





GOLD 


V 1 


20431 





GOLD 


VI 


0948 





GOLD 


OK 







LUBI 


VI 







LUBI 


VI 


25003 





WARR 


VI 


25082 




• ARR 


VI 


25105 




WARR 


VI 


25223 




WARR 


VI 


36080 






VI 


36i02 




WAR R 


VI 


36163 




WARR 


v I 


36063 




WARR 


VIC 120982 


WARR 




22688 




WARR 


01 

VI 


22745 




WARR 
WARR 


VI 


24263 




WARR 


VI 


24396 




WARR 


VI 


24555 






VI 


24599 




WARR 


VI 


2471 1 




WARR 


VI 


24865 




WARR 


OK 


40000 




GOLD 


OK 



4918 




GOLD 
GOLD 


VO 


»2 <- 


MCKU 


VO 


1262 


i 5 MCKU 


ECO 


4342 


1.00 


QUI N 


CO 


4613 


i.50 


QUIN 


BR 




1 .25 


QUIN 


1 






GOLD 


VI 




2.50 


HEWE 


VR 


8135 


1 .50 


HAMI 


VR 


8147 


1 .50 


HAMI 


ME 






COOK 


ME 






COOK 


OR 






COOK 


DO 
EVO 






COOK 
COOK 


VO 






COOK 
COOK 


VO 
VO 






COOK 


VO 






COOK 


VO 






COOK 


VO 






COOK 


ME 






COOK 


ME 






COOK 


CO 


14458 




FERT 


BR 


7824 




POUL 


BR 


7917 




POUL 


BR 


7926 




POUL 


BR 


8053 




POUL 


BR 


8259 




POUL 


BR 


8265 




POUL 


BR 


8270 




POUL 


VI 


27238 




WASH 








WASH 
GLI B 



$5 HOFF 
t 3. HOFF 
t 3 HOFF 
J 3 HOFF 
t 3 HOFF 
t 5 HOFF 
HOFF 



29 



CATALOGS 

OK 1926,27,28 

PIPE ORGAN RECORDS 

ANY LABEL, AST I ST 1926-37 N 

WANTED 

JAZZ DISCS WANTED IN QUANTITY SEND LISTS PRICES- 
SHIMMY LIKE UYS I STER KATE 
ORIS INDIANA FIVE V 
SOFUS FIVE V 



EARL HINES V 
ANNA JONES V 
CLARENCE MS V 
■HOOP EE MAKERS V 
LEE S I US V 
BOYD SENTER V 
12 5T RAG 

MANY RECORDING GROUPS SEND LISTS PRICE 
' I GER RAG 

PHIL NAPOLEON N ED 

TEDDY «ILSON E 
DIXONS JAZZ MANIACS E 
HI LLTOPPERS V 
HOLLYWOOD DANCE ORCH E 
•ANT LISTS 



PU 1 1 1 46 
OK 40767 
VI 22863 
PA 12052 
QRS 7044 
CO 14367 
BR 4740 
OK 40108 



PROS 
PROS 
PROS 
PROS 
PROS 
PROS 
PROS 
PROS 



ED 51908 2.00 
Tw 2 5 10 
PT 12408 $ 5 

GG 2.50 

AP 8644 2.50 



SEND ME YOURS HAVE ALL TYPES REASONABLE 

SEE DECEMBER CHANGER 

'.£« 3RUSH SOUNDM IRROR RECORDER 
•ILL S** 3 GENEROUS BRAND NEW JAZZ RECORDS 
FROM ENGLAND AND FRANCE FOR LATEST 

BRUSH SOUNDM IRROR MAGIC RIBBON HOME RECORDER C 

1949 TELEV IS ION SET 

•ILL S»AP GENEROUS AUOUT OF THE FINEST 

JAZZ RECORDS BRAND NE» FROM ENGLAND AND FRANCE 

FOR GOOD QUAUTY BRAND NE» I 949 TELEVISION SET C 

DISPOSITION 



(First four letters of collector's na* 
6 Ifor aodress. see page 6. 



MAD! 
MAD! 
MAD I 
MAD I 
MADI 

LEVI 
GOLD 



PRICE IF FOR SALE; VALUE IF FOR 
TRACE; MINIMUM BIC IF FOR AUCTION 



(iethod of disposition: "sal", 
for sale at price indicated.; 
'tra",for trade; "auc", at 
auct i on.clcs ing date for bids, 
see pace 6. 't-a" for trade- 
auction; "t— s" for trade 
or sale: "sta" for sale,traoe 
or auction. 



CONDITION OF RECORD: N~«E« 
E-CXCELLENT ; V— VERY GOOD; 

: ; -"— " - - ; -- - . 



2 [CATALOG NUMBER OF 



1 Label of pecoso. 




1 2 3 4 5 



ALMANAC SINGERS 
SUD BUSTER BALLAOS( PREWAR) Gl G2l N AUC - 

AMERICAN FOLK SINGERS 

SMOKEY UT BALLADS(ED BY J.LOMAxJvi P 79N AUC - 

MATT IA BATT 1ST INI 
A TANTA AMOR/l L MIO LIONELLO V I I 5| Ol 0 E AUC - 

IST3N SYMPH (KOUSSEV ITSK I ; 
TILL EULENSP I EGEL( SPECIAL SAMPLE )V I I 80003NAUC- 
HARRIS, SYMPHONY I 933 <PRE»Ar)CO Ml9l N AUC - 

ENRICO CARUSO 



VI 89089 v AUC 

VI 9521 0 V AUC 

VI 88559 V AUC 

VI 88003 V AUC 

VI 95203 V AUC 



LELISIR 0AU0RS VENTI SCUD I 
MARTHA-QU'RTETTO NOTTURNO 
SANCTA MARIA 
FAUST-SALUT DEMEURE 
FAUST— PR I SON SCENE PT 3 

LA DANZA— TA REN TALL A NA POL I TANAV I 88355 E-AUC 

CARUSO, TETRAZZ IN l,AMATO, JOURNET, JACOBY.BADA 
SEXTET-LUCIA VI 96201 E AUC 

Q.MARSTON HADDOCK 
ENGLISH FOLK SONGSi BALLADS MU M55 N AJC 

MARCEL JOURNEY 

LA FA VOT I A— ANATHEMEDE BALTMAZA 

(V| XMAS RECORD 1946 VINYL) VI SPECIALN AUC 

WILLIAM PRIVIOSE PHILDELPHIA ORCH 

• ALTON— V I OLA CONCERTO-RADIO TRANSCR. N AUC 

RECORD SALE LIST 

SEND N0» FOR BIG BARGAIN LIST FREE 

TITO SCHIPPA 

RACCONTO Dl RODOLFO(LA BOHEME ) PAT54033 E AUC 

TOSSY SP I VAKOVSKY-N.Y. PHILHAR MONIC 
BARTOK CONCERTO, OCT |7 1 943 RADIO TRANSNAUC ||2 



GENT 
GENT 

GLI B 
GL I B 
GLIB 
GLIB 
GLIB 
WARR 



KUHL 
GENT 
GENT 



fan. 

COMPOSING 
DISPLAY ADS 

FOR OUT-OF-PRINT 

RECORDS 



1. No forms are required for dis- 
play ads Type or print your ad 
just as it is to appear in print. 

2. Each column holds 78 lines of 
record listings; two columns. 156 
lines; three columns, 234 lines. 

3. Each recording group must oc- 
cupy a separate line 

4. Try to make your ad come out to 
an even one, two. or three col- 
umns 

5. Record lists less than one column 
must be submitted on our classi- 
fied ad forms and shown in our 
"wanted" or "for disposition" 
section. 

6. All advertising concerning out- 
of-print records must be accom- 
panied by advance remittance. 
Advertising not accompanied by 
advance remittance must bo re- 
turned. 



Closing Date for 
DISPLAY ADS 

10th of Month Preceding Date 
of Publication 



SALE SALE 
JAZZ RECORD CORNER 

782 8TH Ave., (48 ST) NYC 
PHONE PLAZA 7-7426. ON MAIL ORDERS 
ACCOMPANIED BY CHECK OR MO TOTALING 
$3 OR MORE WE WILL PREPAY THE SKIPP 
ING CHARGES. WE ALSO SHIP COO. FAST 
SAFE INSURED. SHOULD ANY DISC BE OUT 
OF STOCK A CHECK IS SENT FOR THE UN 
USED PORTION OF YOUR ORDER. HOWEVER 
WE FILL ALMOST EVERY ORDER COMPLETE. 



NEW RELEASES 
GRAEME BELL AUSTRALIAN JAZZ BAND(|.05) 
SOUTH/SHIMME SHA WABBLE JC I 

YAMA YAMA Bl/b|G CHIEF BATTLE AXJC 2 
USUAL DISCOUNT TO DEALERS ON JC RECORDS 

JELLY ROLL MORTON TRIO (POODS) 
MR JELLY LORD/WOLVERINE BL ( I .05)TJM I 

K ING OLIVER (>| .05) 
D I ppermouth/where is u STAY HJCA 29 

LONDON CAFE/CAMP MEETING HJCA I 8 

LOUIS ARMSTRQNG(HJ-| .05, CO-. 79) 
DRJIPPIN SHUCKS/WHOS I T HJCA 20 

GA GRIND/COME BACK SWEET PAPA HJCA 2 1 
KING OF ZULUS/LONESOME BL HJCA 22 

PUT EM DOWN BL/SAVOY BL CO 37537 

IM NOT ROUGH/GOT NO BL CO 37536 

DODDS CHICAGO FOOTWARMERS (l.Q5) 
BALL IN THE JACk/gRANDMA BALL HJCA 24 

8R0WN BOTTOM BESS/LADY LOVE HJCA 25 

MY BABY /OR IENTAL MAN BRS 5 

BOB WILRER WILDCATS (|.Q5) 
CAMP MEETING Bl/0NCE IN WHILE RAMP 8 
WHEN U WORE TULIP /TROUBLE IN M1NDRAMP 6 
OH DADDY/FROG I MORE RAMP 7 

SIDNEY BECHET (WILBER#) (.79) 
LOVE FOR SALE/SHAKE EM UP CO 38321 

SPREAD IN JOY/l HAC IT # CO 38320 

POLKA DOT STOMP/KC MAN BL# CO 383 1 9 

LAURA/jUST ONE THOSE THINGS CO 383|8 

JELLY ROLL MORTON RED HOT PEPPERS 
JUNGLE BL/wlLDMAN BL {% 1.05) BR 6 4 

CLAUDE BOLL ING 
NEW CIRCLE ALBUM 5 3.95 

HOT JAZZ CLUB OF AMERICA RECORDS 
8 I .05 EACH. " 
I.OLIVER-ROOM RENT/AINT GONNA TELL 
2.0L I VER-MABELS DREAM/SWEET RABY DOLL 

3. LOU IS HOT 4-IRISH BLACK/u MADE ME LOVE! 

4. W0T0N-L0ND0N Bl/sOMEDAY SWEETHEART 

5. LOUIS 5-JAZZ lips/cake WALKIN BABIES 
6.0L I VER-JAZZI N BAB I ES/TUXEDO RAG 
7.0LI VER-RI VERSI De/wORK1 NGMAN 3L 
8.0LI VER-SOBB I N Bl/sWEET LOVIN MAN 

9. LOU IS 5-BIG FAT Ma/sWEET LITTLE PA 

1 0. GONNA G I TCHA/FORGET TO MESS AROUND 
I I .MORTON-BILLY GOAt/hyENA ST 

I 2— OODDS— SWEET LORRA I NE/pENC I L PAPA 
I 3 • DUMA I NE— F.RANKL I N ST/RED ONION DRAG 
I 4. DUMA I NE— PRETTY AUDREY/TOWBACAWA 
I5.M0RT0N-O I X I E HOME/LIKE IT OUGHTA BE 
I 8. LOU I S-COAL CART/TEXAS MOANER 

REX STEWART 
JUST IN FROM SWEDEN ON CUPOL (UNIS USA ) 
BASIN ST BL/RUN TO THE CORNER 4074 1.05 
BOY MEETS HORN/WAITIN FOR TRA I N404| 1.05 

JOHNNY HODGES 
PYRAMID/EMPTY BALLROOM BL PAE 3 1 I 5 1.05 



FOR EVERYTHING IN JAZZ 
VISIT 
THE CORNER 

COLLECTORS PLEASE NOTE 
WE HAVE NO CONNECTION WITH ANY OTHER 
STORE. IT IS ONLY AT THE "CORNER" 
WHERE YOU WILL FIND ONLY JAZZ DISCS. 
WE DON'T HAVE A SINGLE POP RECORD IN THE 
SHOP 



30 



SALE j. E . WARNER ^ 

425 RIVERSIDE DRIVE, NYC 25, NY 

ALL RECORDS ARE IN EITHER NEE- OR EXCELLENT CON&ITIONj W ITH THE EXCEPTION OF ABOUT |0# OF THEM WHICH ARE NO WORSE THAN V+. IF A 
RECORO IS LESS THAN THIS IN CONOITION IT W I LL BE INDICATED IN PARENTHESffS BEFORE THE LABEL. DO NOT SEND MONEY WITH YOUR ORDERS. 
RECORDS SHIPPED PARCEL POST INSURED. NO RECORDS SENT COD. TOO MANY PEOPLE REFUSE ORDERS WHEN SHIPPED THAT WAY. YOU MUST PAY 
POSTAGE, INSURANCE, AND 25* PACKING CHARGE ON ALL ORDERS. YOU WILL 8E NOTIFIED OF WHAT YOU HAVE WON AND THEN YOU WILL REMIT THE 
AMOUNT DUE. UPON OUR RECEIPT OF CHECK OR M.O. WE WILL SHIP. PLEASE DO NOT SUBMIT ALL OR NOTHING ORDERS. THEY WILL NOT BE HONORED. 
NO MINIMUM ORDERS. SATISFACTION GUARANTEED OR YOUR MONEY WILL BE REFUNDED. THIS IS ANOTHER ENTIRELY NEW BATCH OF RECORDS THAN 
THOSE ADVERTISED IN THE NOVEMBER AND JANUARY CHANGERS. MOST ALL OF THOSE WERE SOLD. IF YOU FAILED TO GET THE, RECORDS YOU WANTED 
l-N THE LAST SALE TRY AGAIN THIS TIME. THERE WERE ABOUT |5 PEOPLE WHO FAILED TO HONOR THEIR ORDERS FROM THE NOVEMBER SALE. THESE 
NAMES HAVE BEEN TURNED OVER TO THE RECORD CHANGER ATTORNEY JACOB SCHNEIDER FOR ACTION. WE WILL NOT ACCEPT OROERS FROM ANY OF THEM 
UNTIL THE MATTERS HAVE BEEN SETTLED SAT ISFACTORILY. 



ALL STAR TRIO 






HADDA BROOKS TRIO 








BOB CROSBY AND THE BOBCATS 






|2 st rag/dotty dimples 


VI 18713 


• 59 


HONEY HONEY HONEy/hOUSE PARTY MODERN 1 57 


.59 


uartha/home on range 


DE 


1600 


.79 


BARCLAY ALLEN RHYTHM FOUR 






LES BROWN 








StNG SONG SUNBEAMS/hANG HEART 


DE 


24| 6 


• 79 


BARCLAYS BOOGIE/GREEN EYES VANES 1003 


.59 


ROBIN HOOd/sLEI GHRI DE IN JULY 


CO 


36763 


.79 


CAN 1 HELP IT/LITTLE MAN WHO 


DE 


2776 


.79 


AMBROSE ORCH 






SENTIMENTAL RHA PSOD Y/jUMPY ST UMPYC037830 


• 79 


WIND AND RAIN IN HAIR/u DARLING 


DE 


3018 


.79 


DANCE POTTED PUPPET/SWINQ LOW LONDON 108 


.69 


SHOW ME WAY HOME/LEAP FROG 


CO 


36850 


.79 


MY MY/SAV IT 


DE 


3078 


.79 


GENE AMMONS (GAIL BROCKMAN— TRUMPET 


) 


COME TO BABY Do/u WONT BE SAT 1 SF 


IE 


36884 


• 79 


believing/this IS BEGINNING 


DE 


3 103 


.79 


RED TOP/lDAHO 


MER 8048 


• 69 


RED KISS BLUE LETTEr/wELL BE T 


CO 


36896 


. 79 


TWO D RE A MS/DOWN ARGENTINE 


DE 


3404 


.79 


ANDREWS SISTERS 






GOOD BL TONITE/lN LOVE IN VAIN 


CO 


36972 


• 79 


GONE NOT FORGOTTEN/u FORGOT 


DE 


3417 


.79 


HONEY/ELMERS TUNE 


DE 4008 


• 59 


COULD BE TRUE/l GOT SUN MORN 


CO 


36977 


• 79 


ISNT THAT JUST/DID U KNOW 


DE 


3445 


.79 


LOUIS ARMSTRONG 






HIGH WINDY TRUMPET/LOVERS LEAP 


CO 


3706 1 


• 79 


NOTHING LIVE FOR/lLL KEEP THINK 


DE 


3808 


.79 


HEP CATS BALL/LAZY 'SIPPI STEAM 


DE 3283 


1 .29 


WORLD IS SINGING SONG/GUESS ILL 


CO 


37066 


• 79 


STILL BE MINE/00 U CARE 


DE 


3860 


.79 


WEST END BLUES/IF ITS GOOD (v) 


OE 2480 


1 .29 


MY SERENADE/BEST MAN 


CO 


37086 


• 79 


TRUSTING IN u/ONE LOVE TO ANOTH 


DE 


4027 


.79 


JACK ARMSTRONG BL/ROCKIN CH 


VI 202348 


• 79 


YEARS YEARS AGO/SOONER LATER 


CO 


37153 


• 79 


ONLY A DREAM/TAKE IT EASY 


DE 


*|37 


.79 


OESI ARNAZ ORCH 






MY NUMBER 1 DREAM/u SHOULD TOLD 


CO 


37208 


• 79 


U MY DARLING/HUNG MY HEAD 


DE 


4346 


• 79 


ILL NEVER LOVE AGAIn/tIA JUANA 


VI 202020 


• 69 


BEWARE MY HEART/MERRY OLDSMOB 1 LECO 


37235 


■ 79 


DONT CARE ANY MORE/END OF WORLD 


DE 


4380 


.79 


RUMBA RUMBERO/lN SANTIAGO 


VI 202827 


.69 


TRI6K»DEKAPH0BIA/Y D1DNT WE SAY 


CO 


37279 


.79 


TOLD U SO/U BROKE MY HEART 


DE 


4422 


.79 


LITTLE ROMERo/jIPI JAPA 


VI 202887 


.69 


ACHING HEART/FINE THING 


CO 


37497 


.79 


MARCH BOBCATS/FIVE POINT BL 


OE 


25298 


.09 


FRED ASTAIRE 






DONT TELL ME/EVERY SO OFTEN 


CO 


37557 


.79 


FRANK CRUM IT (V) 








FINE ROMANCE/wALTZ SW 1 NOT 1 ME 


BR 77 16 


1 .69 


AFTER u/DARDENELLA 


CO 


37933 


• 79 


WAIT TIL U SEE MADELINE/ALL BY 


CO 


34|5 


.49 


JAN AUQUST (PIANO SOLOS) 






LOVE SO TERRIFIC/DREAM GIRL 


CO 


38060 


. 79 


JOSE CURBELO 








JAN CBCRA'CHa/oYENEQRA 


D I A 2070 


.59 


CHICK BULLOCK LEVEE LOUNGERS 






RUMBA RUMBERO/POINC IANA(SPECIAL 


V| 269032 


.69 


Bl BAM BOOM/GOLDEN DREAM 


D 1 A 2079 


• 59 


MY GAL SAL/ACE IN HOLE 


ME 


60610 


• 99 


FRANK DA 1 LEY ORCH 








MITCHEL AYRES 






BILLY BUTTERF 1 ELD 








APRIL IN HEART/WHEN CIGARETTE 


BB 


10004 


.69 


1 CAME SAW CONGAED/2 SQUIRRELS 


BB 1 1 06 1 


.59 


BILLY THE Klo/wHATTA YA GONNA 


CP 


265 


.69 


TADDDAMERON SEXTET 








LITTLE SOUTH NORTH/BAND PLAYED 


BB 1 1 lOl 


.59 


UNTIL REAL THING/BILLYS BOOGIE 


CP 


434 


.69 


our delight/the squirrel (ch)( 


x~i)bn540 


.49 


WE ALL GO WELL TOGE THEr/wHA T HEA RBB 1 1 1 3 7 


.59 


THERE GOES THAT SONG/MOONL 1 GHT 


CP 


182 


.69 


COW COW DAVENPORT 








MILDRED BAILEY 






narcissus/bugle CALL RAG 


CP 


475 


.69 


RAILROAD BL/l A 1 NT NO ICEMAN 


DE 


7462 


• 99 


LET SONG GO OUT/ROCK IT FOR ME 


vo 4083 


1 .29 


FLIP FLOP/l CANT GET STARTED 


CP 


15047 


• 69 


JOE DAVIS 








MY'/REVERIE/wHAT HAVE U GOT 


VO 4406 


1 .29 


RUMORS FLYING/SHARP SCARF 


CP 


282 


• 69 


WHAT WOULD U SAy/l|KE ANGEL 


OK 


40831 


• 99 


DOWNHEARTED BL/GULF COAST BL 


VO 4800 


1 .59 


CAB CALLOWAY 








DORIS DAY 








TIT WILLOW/LAMP IS LOW 


VO 4845 


1 .19 


APRIL IN HEART/DO U WANNA JUMP 


VO 


4477 


■ 99 


PAPA WONT U DANCE WITH ME/SAY 


CO 


37931 


.59 


PEARL BAILEY 






FDR JONES/ANGELS DIRTY FACES 


VO 


4498 


• 99 


EDDIE DELANGE 








8T LOUIS BL/GET IT OFF 


CO 37570 


.59 


NECESSITY/HI DE HO MAN 


CO 


373|2 


• 79 


NEW SHOES/BH/.T ARE LITTLE GIRL 


BB 


7855 


.69 


LEGALIZE MY NAME/WOMANS PREROG 


CO 36969 


.59 


GIVE ME 20 NICKELS DOLLA r/jUNGLECO 37500 


• 79 


COPENHAGEN/CANT KISS FRIG IDA IRE 


BB 


10027 


1 .29 


1 NEED U LIKE 1 NEED/WHAT ARE 


CO 38028 


.59 


GHOST OF CHANCE/EVERYBODY EAT 


CO 


38l7l 


.99 


AL DEXTER 








THATS NO WAY/OL MAN U BEEN 


CO 38228 


.59 


EDDIE CANTOR 








IN DAYS YESTEROAY/ANSWER TO HONKYVO 


4174 


1 . 1.9 


DAVE BARBOUR 






margie/if u knew suzie 


CO 


2 


.99 


MY TROUBLES DON T TROUBLE/bL EYESVO 


5042 


.99 


FORVER PAGANINl/FOREVER NICKI 


CP 358 


.59 


FRANK IE CARLE 








DENVER DARLING 








CHARLIE BARNET 






1 was here * en u left/ratheR beco 


36 8? 6 


.59 


WERE GONNA SLAP JAF/BET GUN COMEOE 


6027 


.99 


THATS FOR ME/AT DIXIE R0AD9I0E 


BB 10817 


1 .19 


AS LONG AS 1 LIVE/SEEMED TO BE 


CO 


36892 


.59 


DETRO ITERS/B-OADf AY BCSTERS 






1 HEAR RKAPSODY/MOON CRYING 


BB 10934 


1 . 19 


sunrise serneade/starburst 


CO 


37539 


.59 


CORAL SEA/TOLD THEM ABOUT U ( V- 


JCA 


2702 


.69 


POMPTON TURNPIKE/l DONT WANT CRYBB 10825 


1.19 


ONCE IN LI FE/AND MIM 1 


CO 


37819 


♦ 59 


EMERY DEUTCH 








RAY BAUDUC BOBCATS 






CORA BELLE/WHO WERE U KISSING 


CO 


37972 


• 59 


LOVE LIGHT ST A RL 1 GHT/s TOP RECON 


BR 


81 18 


• 89 


LITTLE LIZA JANE/wHEN SUGAR 


CP 1 5 1 3 1 


.79 


CHAR IOTEBRS 








ALDONOHUE 








NORA BAYES 






NO SOUP/ONE MORE DREAM 


CO 


36903 


.59 


MUSIC MAESTRO PL EASE/SPR 1 NG 


VO 


4|53 


.59 


HICKI HOY/WHEN JOHN MC CORMACK 


VI 45105 


.99 


BUDDY CLARK 








LOCK HEART/WHEN MOTHER NATURE 


vo 


4178 


.59 


GRAEME BELL 






1 KNEW ID FALL IN LOVE/ALL BY 


CO 


37085 


• 59 


BESIDE MOONLIT STREAM/NA TUWALLY 


VO 


4195 


.59 


SUOKEY MOKES/UGLY CHILO(LAM CH ) 


RZ 261 16 


.99 


BASSING BY/|N APPLEBLOSSOM BEDDING 


37488 


.59 


mSMBTLH^KET/pRETTY GIRL MILK 


vo 


4268 


.59 


TEX BENEKE WITH THE GLENN 


MILLER ORCH 


FREEDOM TRAIN/SINCERELY YOURS 


CO 


37889 


.59 


LAMBETH WALK/sTOP BETING 


VO 


431 8 


.59 


STRANGE L0VE/CYNTHIA6 IN LOVE 


VI20I858 


.99 


EMPEROR WALTZ/WA 1 TINQ SHIPS 


CO 


37934 


• 59 


NO RHYME REASON/LONG LAST 


VO 


4349 


.59 


HEAD IN FOR CALIF/SWING LOW 


VI20I834 


.99 


ALL DRESSED UP BROKEN HEART/u 


CO 


37984 


.59 


HEART SOUL/CLAP HANDS 


vo 


4398 


.59 


HEY BOB A REBOB/wl FFENPOOF 


VI20I859 


.99 


pianissimo/too DANGEROUS 


CO 


38051 


.59 


WHAT DO U KNOW/WHAT U GOT GETS 


VO 


4400 


.59 


EVERYBODY LOVES BABY/l KNOW 


v 1 20 1 9 1 4 


.99 


PECULIAR/NO* IS HOUR 


CO 


38i |5 


.59 


WHEN PA COURT IN Ma/bUTTON BUT 


vo 


4476 


.59 


QIVE ME 5 MIN MORE/TEXAS TEX 


VI 201 922 


• 99 


SPRING DECEMBER/TALKIN TO SELF 


CO 


381 53 


.59 


MUST SEE ANNIE/SERVES U RIGHT 


vo 


4496 


• 59 


PA86E/WO0DCHUCK SONQ 


VI20I95I 


.99 


APPLE BLOSSOMS FALL/lM SLAVE TO 


CO 


38241 


.59 


JEEPER9 CREEPERS/HURRY HOME 


VO 


451 3 


.59 


TOO LATE/l HAVE ONE HEART 


vi 202424 


.99 


WHERE FLAMINGOS FLY/ON WATERFALLCO 38249 


.59 


BETWEEN KISS SIGh/| WONT BEL 1 EVEVO 


4550 


.59 


GIRL THAT 1 REMEMBEr/8UPR 1 SE 8YMPH202497 


.99 


CLAYTON JACKSON AND DURANTE 






EAST SIDE HEAVEN/THAT GENTL EMAN 


vo 


4722 


• 59 


OKLAHOMA CITY/LONE STAR MOON 


v 1202566 


.99 


cna broadway/so i ups to him(cr 


)co 


i860 


1 .49 


our love/little skipper 


vo 


4736 


.59 


RAMBL 1 N AROUND/LOVELY RAINY PM 


VI 202837 


.99 


COLONIAL CLUB ORCH 








SOUTH AMER WAY/BEGONE 


vo 


4902 


.59 


LOOK FOR S LVER LINING/WHIP POORVI 202924 


.99 


TO KNOW U IS TO LOVE u/8REAM If. 


BR 


41 18 


.59 


PERSIAN RUG/WHITE SAILS 


vo 


4956 


.59 


BUNNY BERIGAN 






PERRY COMO 








DAY IN DAY OUT/LAST TWO WEEKS 


vo 


5099 


.59 


LADY FIFTH AVENUE/ALL 8008 CH i L 


vi 25609 


1 .69 


DIO U LATER/HERE COMES HEAVEN 


VI 


201750 


.69 


LOVE NEVER WENT COLLEQe/sPIC ANDVO 


5183 


.59 


BUTTON BUTTON/ROCKIN ROLLERS JU 


vl 26077 


1.69 


JERRY COLONA 








SILENT MOOD/ON LITTLE ST SINGAPORE 


52 1 1 


.59 


JELLY ROLL BL/BLACK BOTTOM 


VI20I5C2 


1.09 


hector/u my everything 


VO 


3876 


1.39 


KISS REMEMBER/DARN T 'AT DREAM 


vo 


5264 


.59 


OCEO 1 DO/HIGH' SOCIETY 


V120I503 


1 .29 


COTTON PICKERS (cr) 








copenhagen/rhytwi IN TOP HAT 


vo 


5314 


.79 


CHU BERRY 






WOE IS ME/THERE JAZZ IN THEM HORVO 


3263 


.99 


LET THERE BE LOVE/l MAGI NAT 1 ON 


vo 


5454 


.59 


CHUBERRY JAM/MAELSTROM 


CO 37571 


.99 


BING CROSBY 








SAM DONOHUE ORCH 








IRENE BORDONI 






LOVE IN BL00M/8TRA 1 GHT FROM Sh(v»R 


6936 


1 .39 


4—5 TIMES/SKOOTER 


OX 


6358 


.59 


1 WONT 6AY 1 WILL/30 THIS LOVE 


VI |9|99 


1.39 


NATURAL THING TO Do/aLL U WANT 


DE 


1376 




TACOS mCHTLADAS BEANS/ROBB 1 NS 


CP 


493 


.59 


EARL BOST IC 






START DAY R 1 QHT/nE 1 GHBORS 


DE 


2626 


.99 


SAXABOOGIE/lLL GET ALONG 80MIH0WCP 


15081 


.59 


temptation/artistry by bosttc gotham i60 


.79 


JUST ONE MORE CHANCE/SWEET POT 


DE 


2999 


1.29 


DORSEY BROTHERS 








BILL BOYD COWBOY RAMBLERS 






ONLY FOREVER/WHEN MOON OVER MAO DE 


3300 


.89 


H0NEY8UCKLE R08E 1-2 


DE 


296 


1 .49 


ILL TAKE U BACK AQAIN/WANT (V-J 


BB 8498 


.59 


BIROS FEATHEH/OANOEROUS 


OE 


3637 


.89 


JIMVY DORSEY ORCH 








■ ILL BRADLEY 






Ml SS YOU/BL IN NIGHT 


DE 


4i83 


.89 


DORSEY DRVISH/SEREN TO NOBODY 


DE 


1040 


.59 


SCRAMBLE TwO/ROCKABYE BOOGIE 


CO 35732 


.69 


S 1 BONEy/hASTA MANAMA 


DE 


23547 


.69 


LOVE BUS/LISTEN TO MOCKING 


DE 


1 187 


.59 


IF THERE 18 8 OME ONE /CELERY 6TALKS8B 1 5 1 1 1 


.59 


WHERE BL OF NIGHT/FADED 8UMMER 


BP 


80055 


.65 


FLIGHT BUBBLE BEE/l GOT RHY 


OE 


1508 


.59 


PHIL 8RIT0 






STASOUaT/OANCI NO IN DARK 


BF 


80056 


.6? 


FARAWAY LOOK/l HAONT ANYONE 


DE 


1834 


.59 


FUN FANCY FREE/HOW LUCKY U ARE 


ou !5l id 


.59 


-tfOtt 

















31 



SALE 



J. E. WARNER 



SALE 



dusk uwper sandusky/darktown strude 


1 939 


.79 


KITTY KALEE/l HVENT CHANGED 


DE 


1 96l 


59 


our love/all of ME 


OE 


2352 


• 59 


STAIRWAY TO STARs/wHISPER H 1 LE 


DE 


2567 


59 


JUUPIN JIVE/SHOOT MEATBALLS 


DE 


26 1 2 


.59 


LITTLE CURLY HAIR/BREEZE AND 1 


DE 


3 1 50 


.59 


boog it/six lessons from madam 


OE 


3 1 52 


.59 


HOW CAN i ever/tennessee fishfryde 


3 1 9V 


.59 


tonite/:ontrasts 


DE* 


3 1 99 


.59 


AMAPOLA/DOINA MARIA 


DE 


3629 


.59 


yours/«men sun comes out 


DE 


3557 


.59 


GREEN. EYES/MAR 1 E ELENA 


DE 


3698 


• 59 


HUSH OF NIGHT /SISTER AND 1 


DE 


37)0 


.59 


bl champagne/all alone 


DE 


3775 


.59 


EM3RACA3LE YOu/f 1 NGERBUST 1 N 


DE 


3928 


.59 


SHADE OF BLUE/JIM 


DE 


3963 


.59 


•ASNT IT YOU/MOONLIGHT MASQUER 


DE 


3991 


.59 


tangerine/everything i love 


DE 


4123 


.59 


TAINT NO GOOO 1-2 


DE 


4262 


.69 


LAST NIGHT 1 SAid/alWAYS IN HEARTDE 


4277 


.59 



TOMMY "DORSEY 
SONG INDI a/marie VI 255523 

MILKMAN MAT INEE/TW ILI GHT TURKEY VI 25568 



nola/satan takes holiday vi 25570 

ALABI BABy/hES GYPSY VI 25577 

U EVER SHOULD LEAVe/pOSIN VI 25605 

F MAN IN UOON/jOSEPHINE V| 25676 

DOWN WITH LOVE/.OANIN IN MORN V| 25692 

GETTI-4 FUN OUIT LIVE/MISSION BY VI 25694 

I MAY BE WRONG/MORN I NG AFTER VI 25703 

LITTLE WHITE LIES/SIMPLE MELODY VI 25750 

BIG OIP°Efl/SMOKE FROM CHIMNEY VI 25763 
SHINE ON HARVEST M OOn/pROM I SE MEV I 25780 

jezebel/bew ILDERED VI 25795 

1 NEVER KNEw/COMIN THRU RYE VI 258|3 

WALK I N STICk/nOW CAN BE TOLD VI 25856 

ALL THRU NITE/MUSIC MAESTRO VI 25866 

TISKET TASKET/AS LONG AS LIVE VI 25899 
THANKS FOR EVERYTHING/DO U REMEM VI 26 1 1 9 
HAWAIIAN WAR C ANT^ODN I GHT ON TRAIL26|26 

DAVENPORT 8L/EASY TO BLAME VI 26 1 35 

OLD CURIOSITY SHOP/WHAT U KNOW VI 26|40 

ALL YOURS/THIS IS IT V I 26 1 49 

HEAVEN CAN WAlT/j TAUGHT ME VI 26|54 

HOLD tight/symphony RIFF6 VI 26|63 

NEW MOON OLO/PECKIN PENGU I N6 VI 26 I 8 1 

panama/bl moon vi 26 i 35 

OUR LOVE/ONLY IN MY ARMS VI 26202 

HYMN TO s )n/lamp is LOW VI 26259 

POURED MY HEART/BACK TO BACk(v) VI 26271 

are u havfing any fun/gnite MY VI 26335 

SO MANY TIMES/BABY WHAT ELSE VI 26386 

BL rain/after ALL VI 264 1 3 

LOSERS WEEPERs/FA ITHFUL TO U VI 26439 
IVE GOT EYES ON u/l CONCETR ( RMCH )v I 26470 

NO BODY 6 BABY/BUDS WONT BUD V| 26609 

AND SO DO I /ONE I LOVE VI 26660 

I TRIED/DOLORES VI 273 I 7 

YOUR DANGEROUS/u LUCKY PEOPLE VI 27350 

WHATCHA KNOW JOe/e VERYTH I NG HAP VI 27359 

THIS LOVE MINE/NEINI Tl 27508 

i should care/please oont say vi20i625 

A RENT U GLAD U u/oOOR WILL OPEN V|20|723 

MOMENT I MET u/THAT WENT OUT V|20|76| 

AT S'JNDOWN/TO ME VI 202064 

SNOOTY CUTIE/TOM FOOLERY VI 202 1 I 6 

8PRING ISNT EVERYTH ING/BI NGO BB V I 202 I 95 

KATE/lLL RE THERE VI 202363 

TROMBONOLOGY/DEEP VALLEY V|2024|9 

OLD chaperon/l l l LA V 1202463 

LIKE LEAF IN WIND/lETS PICK UP VI202546 

LET ME CALL U SWEETHEA RT/wALK VI 202904 

BOOT 3 DOUGLAS QRCH 

CARELESS LOVE/EAST COMMERCE ST BB 10036 

EDO IE DUCHIN QRCH 

IM HAPPY FRAME VINO/slSSY BR 8|06 

isnt it wonderful/moonshine OVERBR 8 1 1 5 

STRANGER PAREE. WANNA GO BACK BR 8|40 

OL MAN MOSE/BETWEEN DEVIL DEEP BR 8|55 

KIS6ED U IN DHEAm/nIOHT BEFORE BP 8264 

FALLING IN LOVE LOVE/SHORTEST BR 8268 

'.'OST GENTLEMIN DONT LIKE LOVE BR 8282 

U GROW SWEETER/FOOL MONEY BR 8359 
WHEN WINTER COMES/SONG METRONOMEBR 8391 



.39 
.89 
.39 
.89 
.99 
.39 
.89 
.89 
.99 
.89 
.99 
.39 
.89 
.89 
.89 
.99 
.89 
.89 
.89 
.89 
.89 
.99 
.89 
.99 
.99 
.89 
.89 
.39 
.39 
.89 
.89 
.89 
.39 
.39 
.89 
.39 
.99 
.89 
.39 
.39 
.89 
.99 
.39 
.89 
.89 
.89 
.89 
.99 
.99 
.89 
.39 

.89 

.99 
.99 
.89 
1.29 
.89 
.39 
.99 
.99 
.89 



EDDIE DUC IN CONT INUED 

RUNNING THRU MIND/BOY NAMED LEM BR 8432 .89 

OUT PORT/AINTCHA COMIN OUT =IR 8444 . 89 

CANT remember/hold ME VI 24280 .89 

WATER UNDER BRIDGE/wHERE IS HEA VI 24800 . 89 

WELCOME STRANGER/LOVE LIKE CAGARVI 25264 .89 

TAKE MY heart/guess WHO VI 25343 .89 

SIGN 1000/slUTH SEA ISLAND (v-) VI 25393 .89 

u GOT something/its DELOVLY VI 25432 .89 

MOONLIGHT SHADOWS/LOVE GOOD ANTHV I 255 1 4 .89 

MERRY GO ROUNO BROKE /sOUTHW I NO VI 25585 .89 
DUNCAN SISTERS 

BABY SITTER BL/MUSIC LESSON VI I 9050 . 59 

REMEM3ERING/NEVER HAD MAMMY VI 19206 .59 

JOHNNY DUNN PRIG JAZZ HOUNDS 

PUT and take/moanful BL CO 3579 1.59 

FOUR OCLOCK Bl/hAWAIIAN 3L CO 3729 1.79 

JIMMY DURANTE 

ILL DO STRUTA*AY In/fEELING LOW MGM300I5 .79 

NELSON EDDY 



CO |7|73 
CO 17309 



PE 


1 1564 


.59 


PE 


l2l 19 


.59 


PE 


|2|26 


.59 


PE 


|2|52 


.59 


PE 


12169 


.59 


CO 


1578 


.59 


VO 


3577 


.99 



MAGIC of love/at balalaika 
DANCE MACABRE/DON JUAN SEREN 
CLIFF EDWARDS 

LADY 3E GOOD/ONLY ONE FOR ME 
RED HOT MAMA/wHOS MEANEST GAL 
cali forni a/had TO BE U 
SOMEBODY LOVES ME/LITTLE SOMEB 
ALL SA- E TO Me/aLL ALONE 
ROSE YESTERDAY/jUST SWEETHEART 

ROY ELDRIDGE QRCH 

THAT TH I NG/hECKLERS HOP (v) 

DUKE ELLINGTON 
INDIGO ECHOS (TEST PRESSING (CR)CO 37397) 
SARATOGA SWING/MISTY MRNING BB 6565 I 

ROCKIN IN RHYTH.m/ 1 2 ST RAG (V) BR 6038 
SOPH LAOY/STORMY WEATHER BR 6600 I 

solitude/moonglow (v- SM RM ch) BR 6987 
KISSIN BABY/LOVE LIKE CIGARETTE BR 7627 
(BELOW'HAS RIPPLES) ABOVE HAS RM CH I GR ) 
LOST MEDITATION/RIDIN BLUE NOTE BR 8083 
GAL FROM JOES/l LET SONG BR 8108 I 

WHEN S 'GAR WALKS/PYRAMID BR 
LAMBETH WALK/PRELUDE TO KISs(lm)8R 
WAY LOw/u CAN COUNT ON ME(e/g-) BR 
3 LITTLE WORDS/RING DEM BELL (g)vi 22528 
KEEPMSONG IN SOUL/RIVER AND ME VI 22614 I 
MOOCHE/MOOD INDIGO VI 22486 1 

PITTER PATTER PANTHER/SOPH LADY VI 27221 I 
SIDEWALKS N.Y./TAKE A TRAIN VI 27380 I 

CANT GIVE U ANYTHING LOVE/oiGA VI 33008 I 
MOOD INDI GO/RING DEM BELLS 
JOHNNY COME LATELT/MAIN STEM 
BLUE RAMBLE/LAZY RHAPSODY 
LIGHTNIN/BABY WNEH U A INT 
BEST WISHES/BUNDLE BL 

SEGER ELLIS 
PLEASE COME OUT/PIED PIPER 
PRETTY GIRL LIKE MELOOY/l KNOW 

RUTH ETT I NG 
6WANEE bH0RE/0NCE AGAIN ( RM CH ) CO I075ll 
RAMONA/SAY YES (LAM Cr) CO 1 352 I 

YOUR IN LOVE/BLACKBIRDS (g)(rip)C0 1 595 
LOVE ME LEAVE ME/rED RED ROSE(g)cO 1680 
IM YOURS/LAUGHING LIFE CO 23 1 8 I 

LOVE LIKE THAT/u ONE I CARe(|-MCr)cO 2398 

WILLIE FARMER QRCH 

DOWN HOME RAG/SUGAR BABE 



RI68 I 

8204 
84M 



VI20I532 I 

VI20I556 I 

CO 35834 I 

CO 35835 I 

CO 35836 I 

BR 8275 I 

DE 1322 I 



.99 
.29 
.99 
.29 
.99 
.99 

.99 
.49 
.49 
.99 
. 99 
.99 
.29 
.39 
.19 
.29 
.49 
.09 
.19 
.29 
.29 
.29 

.19 
.19 

.39 
.49 
.59 
.99 
.39 
.99 



BB 78l3 1.19 
LEONARD FEATHER BAND ( HACKET, MARSALA ETC 
VO 4062 I .59 



JAMMIN WALTZ/CLEMENTI NE 

FRED FE I BEL QUARTET 
WACKY djst/long LAST (cr) VO 
cuckoo in clock/black EYES 6USANV0 

CARL FENTON QRCH 
Moonlight kisses/life rose 
virg i n i a/take little one step 

I WANT BE HAPPy/nO NANETTE ME 
OH HOW I love/u CANT FOOL 

HAPPY FELTON QRCH 
U HAD EVEN I N SPA Re/wH I SPER ( LM 

HERB IE FIELDS 



4473 
4662 



BR 


25l8 


.59 


BR 


2585 


.59 


BR 


2640 


.59 


BR 


2757 


.59 


VO 


4060 


.59 



CHEROKEE/MOON NOCTURNE 
SOPRANO BOOGIE/l WANTA 
0aR0anella/rai NBOW MOOD 
CHINESE LULABYE/SORENTO 



v 1 202054 
VI 2021 79 
VI 202274 
VI 20258 1 



VI 269012 .69 



6757 
6759 
6781 
73 1 8 
7343 
7355 



IRVING FIELDS 

MIAMI BEACH RUMBa/tiCO TICO 

SHEC FIELDS QRCH 

GIRL ON POLICE GAZETTE BB 
RIPPLIN RHYTHM/BASIN ST BL BB 
THATS LIFE I GUESS/LITTLE BAMBOOBB 
THANX FOR MEMORY/MdMA MOON HERE BB 
WITH SMILE SONG/WHISTLE *HILE(cr^B 
N r W MOON OVER MILL/GNITE ANGEL BB 
CATHEDRAL IN PINEs/GOOD EVENING BB 7553 
CURLY HEADED BABy/| WONT TELL SOUBB 7480 
GNITE BEAUTIFUL/HAVIN ANY FUN BB 10379 

JACK F INA QRCH 

PIANO PORTRAITS B00GIE/BAM3A 

ELLA FITZGERALD 

BE I MIR BIS DU SCHOn/mY TURN DE 1 596 

BILLY/PLEASE TELL ME. TRUTH DE 2769 

CABIN IN SKY/TAKE CHANCE LOVE DE 3490 

U DONT KNOW WHAT LOVE Is/SOMEB DE 4082 

ED F ITZPATR ICK 

SWEET HEARTACHE/DREAM SAN MARIN VO 35|0 

FIVE HARMANIACS (WASHBOARD BAND ) 
SADIE GREEN/CONEY ISL WASH (g/e)|VI 8873 

FLANNAGAN BROTHERS 
NIGHT PAT MURPHY DIED/'RISH DELIBB 4963 

FORD AND GLENN 
SCHOOL DAY SWEETHEART/OVER MY H0USEC0768 
MY KIO/BABY YOUR MOTHER CO 1080 

FOUR VAGABONDS 
la.zy countrysi de/choo choo 

frederick fradkin 
berceuse/nola 
serenade/melody 

BUD FREEMAN QRCH 
CHINA BOY/THE EEL (v) 

FRANK FROEBA 
WHO/GOBLINS STEEPLE DE 1545 

I TIPPED MY HAT/lF 1 HAD LIFE DE 23835 

BLIND BOY FULLER 

STEP UP AND GO/LITTLE WOMAN U SWEEVO 5^176 
WARN OUT ENGINE BL/SHAKE IT (g) VO 5575 
EARL FULLER JAZZ BAND 



MGMI0I35 .59 

.59 
.59 
.59 
.59 

.59 

.99 

.59 

.69 

CO 1080 .69 
APO 1075 .59 



2409 

2728 



.59 
.59 



BB 10386 .99 



18394 .79 



BR 3030 . 59 



I 8941 



COBN BAND CONTEST/LIZA JANE 
CHEZ FYSHER QRCH 

WASNT IN PEORIA/SWEET CHILE 

GALLAGHER AND SHEEN 
POSITIVELY MR GALLAGHER/ABSOT(G )vi 

JAN GARBER QRCH 

ALL ASHORE/SUMMER SOUVENIRS BR 8235 

W I LO R I SH ROSE/lRISH EYES SMIL BK 466 8 

CONCERT IN PARK/lVY COVERED WALLVO 4889 

POURED HEART INTO SONG/OLD FASH VO 4900 

OLD MILL WHEEL/TWO OTHER PEOPLE VO 4940 

U MEET NICEST PEOPLE/LOVE CAPIT VO 4994 

LIGHT OF STARs/sEM I NOLA VI I 9689 

UNDER THE MOOn/wHAT DO I CARE VI 20754 

YOUR EYES TOLD ME/slEEP DE |069 

ERROL GARNER, & SLAM STEWART 

HE PULLED FAST ONE/( VE NT URA ) L I M ED I SC 860 

GENES MERRYMAKERS 
HONEYMOON HOTEL/SHANGHA I LIL 
GEORGIA STRUTTERS 



ME 12789 
ha 231 



.99 

.69 
.59 
.69 
.69 
.69 
.69 
.69 
.69 
.69 

.79 

.69 

.89 



GEORG IA GR1N0/MESS AROUN ' 

THE GEORGIANS 
AGRAVATIN PAPA/LOOSE FEET CO 3825 .69 

GEORGE GERSHWIN 
TIP TOEs/l-2 (cp!) COE 4066 1.49 

DO DO DO/CLAP YO HAN0S(r|M Dig) CO 809 1.79 

ARTHUR GODFREY 
FOR ME AND MY GAL/TOO FAT POLKA CO 37921 .59 
LOU GOLn QRCH 

SOMEONE/l D L IKE TO BE GYPSY HA 1042 .59 

GOLDEN GATE QRCH 
what do I care/cant u UNDERSTANDVE 2077 

CA 168 



VI 



ON THE ALAMO/STUMBL I NG 

JEAN GOLDKETTE QRCH 

IN THE EVEN I NGLA ZY DAISEY 
HONEST TRULY/U SHOULO TOLD ME 
SORRY AND BLUE 
DRIFTIN APART/ 
GIMME LITTLE K I Ss/lONESOME SORRYV I 20031 
RATHER BE GIRL IN ARM s/suNDA Y V| 20273 

lane in spain/ vi 2049 i 

gonna meet sweetie vi 20675 

BL RIVER VI 20981 



1930S 
19528 
VI 19962 
VI 19975 



.79 
.69 

.89 
.89 
.89 
.89 
.89 
.89 
.89 
.99 
.89 



32 



SALE 








J. t. WARNER 










SALE 


JEAN GOLDKETTE CONTINUED 








GOODMAN CONT INUED 








HALFWAY HOUSE ORCH 






hio home/here comes showboat 


VI 


21 166 


.89 


YOUR LOVELY MADAm/wHAT J GOT 


VI 


26053 


.99 


SQUEEZE ME/N.O. SHUFFLE (G-) 


CO 54 1 


.99 


FUNNY THAT WAY 


VI 


21353 


.89 


RUSSIAN LULLABYE/MARGIE 


VI 


26060 


.99 


TELL ME WHO/LOVE DREAMS 


CO 1 542 


1 .99 


TAKE GOOD LOOK MINE/COMIN IP 


VI 


2 1889 


.89 


1 HAVE EYEs/u SWEET HEADACHE 


V 1 


26071 


.99 


GEORGE HALL ORCH 






GOOFUS FIVE 








CI Rl B 1 Rl B IN/BUMBLE BEE STOMP 


VI 


26087 


.99 


OH MAMA/WILL U REMEMBER TON 1 TE 


VO 4085 


.69 


WANG WANG 8L/ARKANSAS 3L 


vo 


31 38 


1 .49 


1 NEVER KNEW /SWEET SUE 


VI 


26089 


.99 


SAYS MY HEART/u LEAVE ME BREATH 


vo 4098 


• 69 


DEXTER GORDOM & WARDELL GRAY 






THIS CANT BE LIVE/SING FOR SUPP 


IRV 126099 


.99 


MY OWN/u PRETTY AS PICTURE 


VO 4297 


• 69 


THE CHASE/ 1-2 


DIALI0I7 


.59 


MUST SEE ANNIE TON 1 TE/l NESOME 




26 1 i 0 


.99 


CHOP sticks/sticks stones 


VO 4683 


• 59 


HARRY GORDON 








W 1 SPERING/BACH GOES TOWN 


VI 




.99 


DONKEY S ERENADE/l F WHAT U SAY 


VO 5|42 


• 69 


THE 1NVERSNECKY 91 LLPOSTEr/oR BELTONA 1 439 


.79 


UNDECIDED/WELL NEVER KNOW 


V 1 


26 I 34 


.99 


MAL HALLETT ORCH 






Dili oli (^nonriM adpu 
KALrH bUKUUN UrcLH 








GOOD NOTHIN BUT LOVE/SHUTEYE 


l/l 


26 1 59 


.99 


1 CAMTO TALK JOE/DEARLY BELOVED 


HIT 701 4 


• 59 


ARABIAN N|GHTMARe/|2 OCL IN 


VI 


2604| 


.79 


ROSE WASH SQ/SIREN SONG 




26230 


.99 


HENRY HALSTEAD ORCH 






OILrMLN unflrLLLY ^DJAiJGU/ 








1 WANT BE HAHHY/ROSETTA 


BB 


1 0760 


.99 


MOONLIGHT ROSES/MONTEREY 


VI 19579 


• 99 


DONT MEAN TH 1 IJG/mOONGLOW 


DE 


583 1 


.79 


OLWA Y s/wALK JENNY WALK 




1 0799 


.99 


PAT HARRINGTON 






avalon/clouds 


DE 


23002 


.79 


margie/farewell BL 


BB 


1 0973 


.99 


PATTY MCGINTY GOAT/OLD DONEGAL 


DE 24|0 


• 59 


ULTRAFOx/d JANGOLOGY 


DE 


23003 


.79 


HONEYS LOVIN ARMs/hAD BE U 


BB 


1 1056 


.99 


TREAD ON TAIL COAT/lRISH JUBILEEDE 24l 1 


• 59 


SOME THESE DAYS/LILY BELLE 


DE 


23004 


.79 


RUSSIAN LULLABYE/CHANGES 


BB 


1 1226 


.99 


PHIL HARRIS 






GLEN GRAY CASA Llll/LA BAND 








1 CRIED FOR u/wHERE WHEN 


BB 


1 1456 


.99 


FUN FANCY FREE/SAY IT SL A P ( PR IM A ) V 1 20240 1 


• 59 


ALEX RAG BAND/PUT ON OLD BONNET 


BR 


6100 


.79 


ROSE ROOM/FLYING HOME 


CO 


35254 


.99 


SOME LITTLE BUG/DING DONG DAD 


VI 202535 


.59 


DONT LET HAPPEN/sPELLBUND 


BR 


6910 


.79 


la rosita/smoke GET IN EYES 


CO 


36284 


.99 


GONE HURT SOUTHERn/lOADED P 1 STOLSV 1 202575 


• 59 


UNDER BLANKET Bl/tALK OF TOWN 


VO 


471 3 


.79 


bb in moonlight/faithful fore 


CO 


352 89 


.99 


DECK CARDS/SOMEBODY ELSE 


VI 202321 


• 59 


LOVE IS THING/THATS HOW RHYTHM 


VO 


4822 


.89 


LETS OANCE/BOY MEETS HORN 


CO 


35201 


.99 


DARKTOWN POKER CLUB/JELLY BEAN 


ARA 116 


.79 


YOURE A BUILDER/jUDY 


DE 


193 


.79 


SPRING SONG/HONEYSUCKLE ROSE 


CO 


35319 


.99 


LIONEL HAMPTON 






OBJECT MY AFFECTION/2 IN DREAM 


DE 


298 


.79 


MEMORIES OF u/sOFT WIND 


C 0 


35320 


.99 


JIVIN vises/stomp 


VI 25535 


1 «29 


ROSE RIO GRANDE/BUGLE CALL RAG 


DE 


869 


1.19 


DARN THAT OREAm/pEACE BROTHER 


CO 


35331 


.99 


whoa sabe/buzzin with bee 


VI 25575 


1 .29 


always/smoke RINGS 


DE 


1473 


.69 


7 COME 1 1 /SHIVERS 


CO 


35349 


.99 


CHINA STOMP /RHYTHM RHYTHM 


V 1*25586 


1 .29 


8EI MIR BIS DU SCH0n/lET3 MAKE 


DE 


1575 


.79 


BUSY AS BEE/ZAGGIN ZIG 


CO 


35356 


.99 


1 KNOW U KNOW/SUNNY SIDE ST 


VI 25592 


1 .29 


DADDYS BOY/u GO TO HEAD 


DE 


1783 


.79 


TILL TOM SPECIAL/GONE WITH W 1 NO ^CO 


35404 


.99 


PIANO STOMP/l SURRENDER 


VI 25666 


1 .29 


MWONT 8ELIEVE IT/coULD BE 


DE 


2292 


.79 


YOURS IS HEART ALONE/DOWN OLD STRC035445 


.99 


AFTER U GONE/BABY WONT U PLEASE 


VI 25674 


1 .29 


HEAVEN CAN WAIT/SUNRISE SERENADEDE 


232 1 


.89 


NOBODY 8ABY/3UDS WONT BUD 




35472 


.99 


U MY IDEAL/SUN W LL SHINE 


VI 25771 


1 .29 


LITTLE OLD LADy/wASHBOARD BL 


DE 


2394 


1 .29 


mm a mi it /""Dnwe" /ui n i id o a d t i mt 
l,ULUflNIJ 1 bKUvt/HUUK r hH 1 1 INlj 




35527 


.99 


IM IN MOOD SWING/SHOE SHINERS 


VI 2601 1 


1 .29 


OUT OF SPACE/BL RAIN 


DE 


2802 


.79 


CANT U TELL/ONCE MORE 


CO 


35543 


.99 


RING DEM BELLS/MUSKRAT RAMBLE 


VI 26017 


1 .39 


CONCENTRATE ON YOu/lAST NIGHT GARDDE3006 


.79 


CANT RESIST u/DREAMIN OUT LOUD 


CO 


35574 


.99 


ROCK HILL SPECIAL/DOWN HOME JUMPVI 26 1 1 4 


1 .29 


LOVERS LULLABYE/YOURS IS HEART 


DE 


3053 


.79 


nostalgia/little BOY LOVE 


CO 


35594 


.99 


DONT BE THAT WAY/FIDDLE DIDDLE 


VI 26i73 


1 »29 


NO NAME JIVE 1-2 


DE 


3089 


.99 


WHOLLY CATS/ROYAL GARDEN 


CO 


358 1 0 


.99 


BIG WIG WIGWAM/STAND BY FU RTHERV 1 26296 


1 .29 


COME GET IT/MIRAGE 


DE 


3348 


.79 


CABIN IN SKY/TAKIN CHANCE LOVE 


CO 




.99 


MEMORIES OF u/j'JMPIN JIVE 


VI 26304 


1 .29 


BUD 'Y GRECO THREE SHARPS 








AS LONG LIVE/BENNY BUGLE 


CO 


3590 1 


.99 


iw st rag/aincha comin HOME 


VI 26362 


1 .29 


DONT U THINK I OUGHT/LOOK THERE 


MUS 5|5 


.59 


PERFIOIA/ET D0RKN08 HITCHA 


CO 


35962 


.99 


GIN FOR XMAS/HEEBIE JEEB 1 ES 


VI 26423 


1 .29 


ELMER GROSSOS GRENWICH VILLAGE ORCH 




ALWAYS u/u LUCKY PEOPLE 


CO 


36002 


.99 


HA VENT NAMED IT YEt/oN MY WAY 


V| 26476 


1 .29 


THIMKIN OF u/mOTHER VOLGA 


BE 


6022 


.99 


LAZY RIVER/OH LOOK ME NOW 


CO 


360 1 2 


.99 


SING IN THE BL/DINAH 


VI 26557 


1 .29 


EDGAR GUEST 








IM NOT COMPLAININ/slSTER AND 1 


CO 


36022 


.99 


STAN HASSELGARD 






MA AND AUTO/COULDNT BE DONE 


VI 


45258 


.99 


TAKE IT/YOURS 


CO 


36067 


.99 


WHO SLEEPS/SWED ISH PASTRY 


CP 15062 


.59 


BENNY GOODMAN (first me CR ) 




GOOD EVEN IN GOOD LOOK 1 n/| 000000 


CO 


36l 36 


.99 


ERSK INE HAWKINS 






U CANT STOP ME/SLOW 8UT SURE(g) 


ME 


12205 


.79 


SCARECROw/TIME ON HANDS 


CO 


36 1 80 


.99 


1 LOVE TO MAKE/GABRI ELS HEATER 


VI 202836 


©69 


GOOD ENOUGH TO KEEp/SMOOTHE ONE 


PAE 281 6 


1 .39 


TEUSDAY AT lO/AIRMAIL SPECIAL 


CO 


36254 


.99 


DICK HAYMES 






soft winds/memories OF U 


PAE 2761 


1 .39 


AIRMAIL SPEC 1 AL/TUESDAY AT 10 


CO 


36254 


.99 


LOVE LETTERS/TILL END TIME 


DE 18699 


• 69 


BODY SOUL/AFTER U GONE 


VI 


25l 15 


.99 


ANYTHING/FROM ONE LOVE TO ANOTH 


CO 


36305 


.99 


WISH 1 COULD TELL u/sLOWLY 


DE 18747 


• 69 


JINGLE BELLB/SANTA CLAUS 


V 1 


25145 


.99 


SEE MILLION PEOPLe/tHE COUNT 


CO 


36379 


.99 


TED HEATH MUSIC 






sandamn/goodbye 


VI 


25215 


.99 


CAPRICE PAGANI Nl/lM HERE 


CO 


3641 I 


.99 


BAIA/OICKERY DOCK LONDON 1 73 


.69 


GOODY GOODY/BEEN SO LONG 


VI 


25245 


.99 


1 GOT IT BAD/POUND R 1 OGE 


CO 


3642 1 


.99 


SK ITCH HENDERSON 






SWINGTIME ROCK 1 Es/FOUND NEW BABYVI 


25355 


.99 


BUCKLE DOWN W 1 NSO CK 1 /LADY BIRD 


CO 


36429 


.99 


SWAN LAKE/CYNTHIAS IN LOVE 


CP 255 


.69 


DOWN SOUTH campmset/pick SELF upvi 


25387 


.99 


TREW KISS OCEAN/FULL MOON 


CO 


36590 


.99 


WOODY HERMAN 






HERES LOVE IN YEEs/u TURNED TA8LVI 


25391 


.99 


TAKE ME/lDAHO 


CO 


36613 


.99 


PUT RING ON F 1 NGER/BI JOU • 


CO 36861 


.99 


dinah/moonglow 


VI 


25398 


.99 


DEARLY BELOVED/ 


CO 


36641 


.99 


civilization/boulevard memories 


CO 37885 


.59 


EXACTLY LIKE u/LOVE ME LEAVE ME 


VI 


25406 


.99 


6 FLATS UNFURNI SHED/WHY DONT U 


CO 


36652 


.99 


LOVE ME/GOT wdRLD ON STR NG 


CO 36897 


• 69 


ST LOUIS 8l/(0DJb)cLAR MARM 


V 1 


2541 | 


.99 


solo flight/world waiting sun 


CO 


36684 


.99 


wildroot/atlanta ga 


CO 36949 


• 69 


ALEX RAG BAND/RIFF IN RIT2 


VI 


25445 


.99 


FOUND NEW BABY/FLYING HOME 


CO 


36721 


.99 


surrender/good earth 


CO 36985 


.69 


TAINT NO USE/GOODNIGHT LOVE 


VI 


25461 


.99 


HOW DEEP OCEAN/OLD FLAME 


CO 


36754 


.99 


MABEL MABEL/LINGER IN ARMS 


CO 36995 


• 59 


BUGLE CALL RAG/aFTER U GONE 


VI 


25467 


.99 


FIESTA IN BL/CANT GIVE U ANY 


ro 


36755 


.99 


BLOW UP STROM/FAN IT 


CO 37059 


.59 


TAINT NO USE/DO U MEAN IT 


VI 


25469 


.99 


AFTER U GONE/BODY SOUL 


CO 


36781 


.99 


HEAVEN KNOWS/NO DONT STOP 


CO 37094 


.59 


whispering/tiger RAG 


VI 


25481 


.99 


GOTTA BE THIS THAT 1-2 


CO 


36813 


.99 


SIDEWALKS CUBA/STARS FELL ALABAMAC037I 97 


• 59 


GEE_ BUT SWELL/SMOKE DREAMS 


V 1 


25486 


.99 


SLIP DISC/OOMPH PHA PHA 


CO 


36817 


.99 


NO GREATER LOVe/cROSS ALLEY 


CO 37289 


• 59 


SOMEBODY LOVES ME/JAM SESSION 


V 1 


25497 


.99 


symphony/guys COME BACK 


CO 


36874 


.99 


PANCHO MAX IM ILLIAn/C'AN U LOOK 


CO 37355 


• 59 


VIBRAPHONE 8L/ST0MPIN SAVOY 


V 1 


25521 


.99 


RATTLE ROLL/ON ALAMO 


CO 


36988 


.99 


KEEN PEACHY/NEWS FOR U 


CO 38213 


• 59 


CANT WE BE FRIENDS/PICK IN 


V 1 


25621 


.99 


LETS DO 1 T/THE EARL 


OK 


6474 


.99 


EDDIE HEYWOOD TRIO 






ROLLEM/FRAID TO DREAM 


V 1 


25627 


.99 


THAT DID IT MA R 1 e/sOMEBODY ELSE 


OK 


6497 


.99 


continental/heywoods boog 


V|2|2664 


• 59 


WHEN SLEEPY TIME SOUTH/cHANGES 


VI 


25634 


.99 


WINTER WEATHER/EVERYTHING 1 LOVEOK 


65|6 


.99 


CHILICOTHE OHIO/PLYMOUTH ROCK 


VI 202839 


• 59 


AVAL'lN/MAN 1 LOVE 


VI 


25644 


.99 


CLARINET ALA KING/hOW LONG THIS 


OK 


6544 


.99 


TINY HILL ORCH 






SUGAR FOOT STOMP/l CANT G I VE U 


VI 


25678 


.99 


WHERE OR WHEN/BL IN NIGHT 


OK 


6553 


.99 


SIOUX CITY SUE/KEEP ON LOVIN 


MER 2024 


.59 


MINNIE MOOCHER WEDD|n/bOB WHITE 


V 1 


25683 


.99 


LETS Gl VE LOVE CHA NCE/sOMEBODY 


OK 


6562 


.99 


ANGRY/COM IN HOME TO STAY 


MER 6001 


.59 


LET THAT 8E LESSOn/h 1 TCHED WAGONVI 


25708 


.99 


WHEN ROSES BLOOM AGAIn/lAMP MEM 


OK 


6580 


.99 


JOHNNY HODGES 






LOCH lomond/camel HOP 


V 1 


25717 


.99 


STRING PEARLS/JERSEY BOUNCE 


OK 


6590 


.99 


SILVERY MOON GOLDEn/my DAY (v) 


VO 3948 


1 .69 


U TOOK WORDS/MAMA THAT MOON 


V 1 


25721 


.99 


WHISTLE BL/LONELY MOMENTS 


CP 


374 


.99 


RENDEZVOUS RHYTHm/jEEPS BL (v) 


VO 41 15 


1 69 


IF DREAMS COME TRUE/LIFE GOES PARV 


25726 


.99 


MOONFACED/TAKES TIME 


CP 


376 


.99 


SWINGIN DELL/LOVE IN SWINGTIME 


VO 4335 


1 .79 


ITS WONDERFUL/THAN X MEMORY 


V 1 


25727 


.99 


LONESOME RD/FINE OANDY 


CP 


394 


.99 


DOOJI wooji/miss. DREAMBOaT 


VO 4849 


1 .79 


DONT BE THAT WAy/| OCL JUMP 


VI 


25792 


.99 


DIZZY FINGERS/TATTLE TALE 


CP 


439 


.99 


DANCE OF GOON/HOMETOWN BL 


VO 4941 


1 .99 


SI NG SI NG SI NG 1-2 


V 1 


25796 


.99 


BABY HAVE U GOT LITTLe/h| SOPH 1 ECP 


462 


.99 


junior hop/day DREAM 


VI 202541 


• 99 


PLESE BE K 1 ND/TIP 1 T 1 N 


VI 


25814 


.99 


GONNA GET G 1 Rl/nAGA SAK 1 


CP 


15008 


.99 


HOLLYWOOD HUCKSTERS 






THAT FEEL 1 N IS GONE/LULLABYE RHYTV 


25827 


.99 


SWEET LOVELY/LOOKA THERE 


CP 


15020 


.99 


HAPPY BL/THEM THERE EYES 


CP 40022 


.59 


1 LET SONO GO OUT/FEELING HIGH 


V 1 


25840 


.99 


EVERY MAN WOMAN/BEYOND SEA 


CP 


15030 


.99 


HOTSY TOTSY GANG 






Y DID U MAKE ME FALL IN LOVE/DR 


VI 


25846 


.39 


WORLD WAITING SUNR 1 Se/sh 1 RLEY 


CP 


15069 


.99 


DIGA DIGA DO/nEW LOW DOWN (v) 


BR 40|4 


1.19 


DONT WAKE HEART/SAVIN SELF 


V 1 


25867 


.99 


BLUES JUMPED UP/EVER TOLD 


CP 


|5| 1 1 


.89 


BETTY HUTTON 






WHAT GOES ON HERE/LITTLE KISS T 


VI 


25878 


.99 


BOBBY HACKETT 








WALKIN AWAY HEART/WHAT OID U PUTVI20I950 


.59 


WRAPPIN IT UP/MY MELANCHOLY BABYVI 


25880 


.99 


POOR 8UTTERFLY/BL DISILLUSIONED 


VO 


4499 


1 .99 


OTHER END OF KISS/DONT TELL ME 


VI 20201 2 


.59 


1 GOT DATE DREAM/COULD U PASS IN L026000 


.99 










STUFF LIKE THAT/bl SKIES 


CP 1 88 


,59 



SALE 








J. E. WARNER 








SALE 


BULL MOOSE JACKSON BUFFALO BEARCATS 




Ml. r\ T\ r IW .H U O 






BOBBY SHERWOOD 








1 LOVE u/sNEAKY PETE KING 


41 31 


.59 


CHEATIN ON SANDMAN 


DE 1 836 1 


.59 


) 

SHERWOOD FOREST/MY OPINION 


CP 


286 


• 79 


jazz AT PHILHARMONIC 








^ 1 M 11 F QAMf* Trv/IC / D QtTTTw 1 L-ITTV 
J 1 liu MC oUlNia 1 LA^o/rnL 1 IT K 1 1 IT 


Lit 1 OO I U 


.59 


ELKS PARADE/DONT KNOW WHY 


CP 


1 07 


• 79 


AFTER U GONE 1-2 DISC 


800 


.69 


MFTRflNflUF Al 1 ^TAR^ 

Wit- I nUliUWC nLL Oln~0 






DINAH SHORE 








JESTERS 








ALL STAR STRUT /k 1 NG PO RT ER ST 


rn 


.99 


7 ; 

DINAHS BL/RUNN 1 N WILD 


V 1 


27303 


• 99 


SAME OLD SHILLELAGH/«USH MUSH 


DE 


3269 


.59 


royal flush/i got rhythm 


rn ^AilOO 

uu joiyy 


.99 


SHOO FLY PIE/HERE 1 GO 


CO 


36943 


• 59 


EASIER AY/WHEN PATTY PLAYS HARPDE 


3569 


.59 


^Ul FF T l nODA1WC"/lsJflT UCfTC: UIMP" 
OWLL 1 LUKKH | FVL/ l\H 1 MC.L 1 3 OUlMC. 


CO 37293 


.99 


LOST IN ARMS/OOIN WHAT COMES 


CO 


36976 


•59 


MOLLY ONE 1 L DOES REEL/l HAD HAT 


DE 


4|64 


.59 


MODERNA IRES 






THRU 1000 DREAMS/RA 1 NEY NIGHT 


CO 


37 1 57 


• 59 


ELLA FITZGERALD AND LOUIS 


JORDAN 




0U~ HOUR^SAY IT WITH SLAP 


rn 17R76 


.59 


AND SO TO BED/SOONER LATER 


CO 


37206 


• 59 


PETOOTIE PIE/STONE COLD DEAD 


DE 


23546 


• 59 


ESY MORALES 






MY BEL AMI /ILL CLOSE EYES 


CO 


372 1 3 


• 59 


JOHNNY JOHNSTON 








Easy does i t/ jungle fantasy 


HO 1 VJVJ3Vj 


.59 


EGG AND l/wHO CARES PEOPLE SAY 


CO 


37278 


• 59 


AS LONG AS LIVE/ONE MORE DREAM 


CP 


228 


.59 


TALK TO UE BABY /VluT^" LAMENT 


MAN I | | J 


.59 


MAMA DO 1 GOTTA/WHEN AM 1 GONNA 


CO 


3729 1 


• 59 


AUTUMN SERENADE/*^- 1 T SEE 


CP 


2|2 


.59 


IflF UflRR 1 flRPH 






talahassee/natch 


CO 


373 87 


• 59 


FORGIVING u/LAZY COUNTRY SIDE 




10076 


.59 


F LY MR FLY /o UT IN NIGHT 


M AN 1 1 36 


.59 


IM SO RIGHT TONITE/WISH 1 DIDNT 


CO 


37506 


• 59 


DANNY KAYE 








MAD MOON/THE SPIDER 


ATL 859 


.59 


ALL MY LOVE/LITTLE BIT LONGER 


CO 


37555 


•59 


BLOOP BLEEP/ 1 GOT SONG 


DE 


23950 


.69 


Fl ( A MAT Lin RQF 






KOKOMO INDIANA/u DO 


CO 


37587 


• 59 


SAMMY KAYE 








NO LOVE NO NO T H | N /s HOO SHOO BAB 


CP 43 

C 1 


.59 


OUT TO FORGET/STANLEY STEAMER 


CO 


37850 


•59 


LOST JOB AGA 1 N/CHICKERY CHICK 


Vl20l726 


• 59 


RfKF MURPHY 






ALL 1 WANT TO KNOw/LAZY COUNTRY 


CO 


37884 


• 59 


WILLY KELLY ORCH 








WHEN 1 GO TO OLD DREAm/| CANT 


M A J 1 204 


.59 


GENTLEMAN IS DOPe/gOLDEN EARRINGCO 


37932 


59 


WAIT FOR ME MARy/RIGHT KIND LOVEHI1 


7049 


.59 


SWEET GA BROWN /HONEYSUCKLE ROSE 




• 59 


HOW SOON/FOOL TAT 1 AM 


CO 


37952 


59 


GENE KRUPA CHICAGOANS 








NEW ORLEANS BLACKBIRDS 






WR 1 TT r N IN STARS/MY GUITAR 


CO 


38162 


.59 


8L OF ISRAEL/3 LITTLE WORDS 


DE 


|8| 14 


.99 


baby/red head (v) 


B8 661 1 


• 99 


A-RTjE SHAW ORCH 








lover/boogie bl 


CO 


36986 


.69 


NEW ORLEANS RHYTHM KINGS 






NIGHT AND DAY/GET OUT OF TOWN 


MU 


389 


•69 


ILL NEVER MAKE SAME/FUN FANCY 


CO 


37875 


.69 


TIN ROOF BL/jAZZ ME Bl(bOBCATs) 


DE 3523 


1 .99 


STILL OF NIGHT/WHAT IS THIS TH 


MU 


390 


.69 


PLEASE DONT PLAY o/l MAY BE WR 


CO 


37968 


.69 


RED NICHOLS 5 PENNIES 






HEART BELONGS TO OADDy/gOT U 


M*f 


392 


• 69 


BUTTERMILK SKY/WRONG SIDE U 


C3 


37073 


.69 


NOBODY KNOWS/SMILES 


BR 7490 


1.79 


SPECIAL DELIVERY St/kEEPIN SELF 


VI 


26762 


. 99 


OLD LAMPLIGHTER/HUGGIN CHALK 1 N 


CO 


37095 


.69 


BY THE SHAL IMAR/SWEET GA BR0Wn(g)bR 4944 


.99 


IS IT TABOO/BEYOND BL HORIZON 


VI 202939 


• oy 


pushin sand/happened HAWAAII 


CO 


37925 


.69 


shimmeshawabble/sheik araby 


BR 80005 


.99 


FRANK SINATRA 








NAPPY LAMARS LEVEE LOUNGERS 






RAY NOBLE 






GIRL 1 MARRYTHEY SAY ITS WONDER 


CO 


36975 




MAMA INEZ/S UTH RAMPANT ST PARAOECPI 5050 


.79 


MIGHT AS WELL BE SPRING/FULL MO 


CO 36893 


.69 


THIS DAY FORWARD/SOMETHING OLD 


CO 


36987 


• 99 


DAVE LAMBERT 1 BU"DY STEWART 






VERY THOUGHT OF u/hE AR T ( LA WRENCE )C037542 


.69 


SOMEWHERE IN NIGHt/oNE LOVE 


CO 


37054 


• 99 


GUSSY g/pEHDIDO 


KEY 657 


.59 


WONDER WHO KISSING HER/APRIL SH 


CO 37544 


.69 


BEGIN BEGUINE/WHERE IS BESS 


CO 


37064 


99 


EDO IE LANG i JOE VENUT 1 








THOSE TH MONEY CANT BUY/DANCE ATCO 37967 


.69 


WE DID LAST SUMMER/COFFEE SONG 


CO 


37089 


99 


AFTER U GONE/FAREWELL BL 


BR 


80077 


.69 


TWO LOVES HAVE l/siERRA MADRE 


00 38026 


.59 


AMONG SOUVEN.IRS/SEPTEMBER SONG 


CO 


37161 


99 


FAREWELL 8L/S0MEDAY SWEETHEART 


ME 


12277 


.99 


FELL IN LOVE u/sAT NITE CENTRAL 


CO 38080 


.69 


THIS is night/hushabye ISLAND 


CO 


37|93 


• 99 


JOHN LAURENZ 








WHAT 00 1 AHE TO Do/l MAG 1 NA T 1 ON 


CO 38158 


.69 


THATS HOW MUCH LOVE u/GAL 1 LOVECO 


37231 


•99 


TREE IN MEADOW/TEA LEAVES 


MEF 


5|48 


.59 


RE3 NORVO NINE 






SAME OLD DREAM/BROOKLYN BRIDGE 


CO 


37288 


99 


ELLIOT LAWRENCE 








HOLLY RIDGE DRIVE/UNDER BLANKET 


CP 15083 


.59 


.STARS REMEMBEr/xMAS DREAMING 


CO 


37809 


QQ 

«yy 


THEY CANT CONVINCE ME/PUT DREAMSCO 


37232 


.59 


GEORGE OLSON ORCH 






CANT U SEE SELF/YOUR MY GAL 


CO 


37978 


• 99 


WILLI E/SPEAK 1 N ANGELS 


C 0 


37320 


.59 


CHICKERY CH ICk/kENTUCKY BABE 


MA J 7|55 


.59 


BUT BEAUTIFUL/IF 1 HAD MATCH 


CO 


38053 


QQ 

oyy 


YEARS GO BY/ECHO SAID NO 


CO 


37545 


.59 


A INT U GLAD u/GOOD TIME POLKA 


MAJ 7|58 


.59 


WE JUST COULDNT SAY GBYe/nONE 


CO 


38129 


•99 


NEAR YOu/hOW LUCKY U ARE 


C 0 


37838 


.59 


CHARLIE PARKER 






EVERYBODY LOVES SOMEBODy/jUST 


CO 


38225 


• 99 


BABY BOOGIE/MY HOW TIME GOES 


CO 


37954 


.59 


LOVER MAN/BE80P (mCGHEe) 


Dl ALI007 


.59 


muggsy SPANIER ragtimers 








shuny oshay/sugar beet 


CO 


38084 


.59 


now is time/billies BOUNCE 


SAV 573 


.59 


SISTER KATE/RELAXIN TOURO 


VI 400 139 


i w<.y 


JOLIA LEE AND BOYFRIENDS 








JACK PARNELL QUARTET 






JACK TEAGARDEN 








THAT3 WHAT 1 LIKE/CRAZY WORLD 


CB 


15060 


.59 


SWEET LORRAINE/OL MAN REBOP LONDON 1 39 


.59 


DIRTY DOG/lTS SO GOOD 


UHCA 40 


1 .39 


ALL 1 00 IS WORRY/wlSE GUY 


CP 


15106 


.59 


TONY PASTOR 






TEN CATS AND MOUSE 








when u smilin/king SIZED PAPA 


CP 


40082 


.59 


MAN AT DOOP/l WANTA SLEEP 


CO 38178 


.59 


jaoa/3 ocl jump 


CP 


15010 


• 69 


PEGGY LEE 








LES PAUL 






MARTHA T ILTON 








DONT KNOW N1UGH BOUT u/cANT SEE 


CP 


236 


• 69 


WHAT IS THIS THING LOVE/HI LLBILLYCP15070 


• 59 


GOODBYE NOw/EASY ST 


DE 


3843 


79 


ARENT U GLAD/ALL OVER NOW 


CP 


292 


• 69 


RAY PEARL ORCH 






JUAN T IZOL ORCH 








GOOD DAy/my KINO 


:= 


322 


.69 


PLEASE DONT TELL/FLAMIN M AM BULLETI 007 


• 59 


CANT HAVE CAKE/ZANZ 1 BAR 


KEY 635 


• 79 


EVERYTHING MOVIN FAST/LOVIN TIMECP 


343 


.69 


JACK PETTIS ORCH 






CHARLIE VENTURA 








SPEAK IN ANGELS/SWING LOW CHARIOTCP 


375 


.69 


BAG 0 BL/FRESHMAN HOP (v) 


VI 21973 


1 .29 


JACKPOT/CHARLI E COMES ON 


SAV 663 


• 79 


OLD LOVE MINE/LONG TRAIN 


CP 


445 


.59 


FLIP PHILLIPS 






EUPHORIA/lF 1 HAD U SITTIN 


1N504 


79 


DEED 1 DO/dONT SMOKE IN BED 


CP 


10120 


.59 


pae°i loma/skys raper 


SG 28106 


.59 


c.v. jam/out U 80 


BW 


37 


"7Q 

• /y 


manana/ll DRESSEO UP BROKEN 


c p 


15022 


.59 


MEL POWELL 






BLUE CHANPAGNE/SYNTHESIS 


NA 


9036 


79 


JOHNNY LONG 








OLD BLACK MA G 1 c/A NYTH I NG GOES 


CP 15056 


.59 


PAUL WHITEMAN RHYTHM BOYS 








hawaaian war chant/evenin PARIS 


SG 


15120 


.59 


LOUIS PRIMA ORCH 






WHAT PRICE LYRI Cs/mONDAY ON 


VI 


2 1302 


1 .99 


BERT LOWN ORCH 








SAY IT WITH SLAP 


VI 202401 


.59 


PAUL WHITEMAN ORCH 








TO WHOM IT MAY CONCERn/bl AGAIN 


VI 


22603 


.99 


ANGEL INA/ROB IN HOOD 


MAJ 10 16 


.59 


THE CALI NDA/BABYS BL(SHILK) (v ) 


HM 


J 5384 


• 99 


LUMBERJACKS 








BOYD RAE3URM 






MAKE BELIEVE/OL MAN RIVER 


HMV 5471 


1 .29 


WHOOPEE STOMP/SHY VIOLETS (v) 


RO 


3540 


.09 


BOYD MEETS STRAVINSKY/) ONLY 


JE 10002 


.89 


LONELY EYES/WISTFUL BLUE (v- 


)VI 


20418 


• 79 


LUNCEFORD 








DUCK WADDLE/PRELUDE DAWN 


JE 10004 


.89 


MUDDY WATER/AINT SHE SWEET(sHIL 


)VI 


20508 


♦ 99 


MARGIE/lIKE SHIP AT SEA 


DE 


1617 


.69 


MARCH OF BOYDS/SUWERTIME 


GU III 


.89 


IM COM 1 N VA/ONCE AGAIN 


VI 


20751 


•99 


ART LUND 








BL PRELUDe/bOYDS NEST 


MUS 490 


.89 


COLLETTE/bROKEN HEARTED 


VI 


20757 


• 89 


WHAT DO IN NEW YRS EVE/NAUGHTY 


V 3* 


10046 


.59 


THE RAVENS 






MY BL HEAVEN/ALL BY OWNSOME 


VI 


20828 


99 


LONESOME OLD TOWN/SWEET AS U 


MGM 10072 


.59 


SUMMERT 1 ViE/wR 1 TE ME LETTER 


NA 9038 


.59 


MY BL HEAVEN (RM Ch)(v) 


VI 


20828 


79 


FRANK LUTHER 








CHUY REYES 






FIVE STEP/WONT BE LONG 


VI 


20883 


99 


OLD FOLKS HOME/l DREAM JEANNIE 


oc 


1997 


.59 


RHYTHM RHAPSODY/RUMBA B00G 


CP 15067 


.59 


changes/mary (bix)- (g) 


VI 


21 103 


OQ 

»yy 


LOW BACK car/rosetralle 


DE 


2298 


. 59 


TEX RlTTER 






OLD MAN RIVER/MAKE BELIEVE 


VI 


2l2i8 


1 »39 


LEN MCCALL ORCH 








XMAS CAROL 3Y OLD CORALL/HAVE TO PAYCP223 


.59 


SUNSHINE/BACK IN OWN BACK YD 


VI 


21240 


i * i y 


PHILADELPHIA BOOGIE/GBYE SWEET 


2OCE2055 


.59 


GIL ROD IN BOYS 






MABELLE/mARCH MUSKETEERS 


VI 


213)5 


1 • 1 9 


JIMMY MC HUGH BOSNIANS (cr) 




ITS SO GOOD/LOVABLE SWEET 


BA 6483 


1 .39 


AFRAID OF u/mY PET 


VI 


21389 


1 1 9 


baby/dont hold everything(mason 


lHA 


795 


.99 


HARRY ROY BAND 






LOUI SI ANA/D IXIE DAWN 


VI 


21438 


I 1 9 


JOHNNY MERCER 








BARRELHOUSE BOOG 1 E/STEPP 1 N OUT 


LOND 1 16 


.59 


COOT IE WILLIAMS 








ACCENTUATE POSITIVE 


CP 


130 


.59 


ANDY RUSSELL 






PIGEONS AND P 1 P ERs/jUB 1 LEST A ( CR ) VO 


3922 


59 


BANOy/| GOTTA SEE BABY 


CP 


183 


.59 


amor/day after forever 


CP 156 


.59 


JUICE HEAD BABY/SALT LAKE CITy( 




237 


.59 


PERSONALITy/|F 1 KNEW THEN 


CP 


230 


.59 


ROYAL MUSIC MAKERS 






CLAUDE THORNHILL 








LIL AUGIE/aN'PLACE 1 HANG HAT 


CP 


254 


• 59 


MY LOVER/THERLL BE SOMEBODY 


OK 4|303 


.59 


JUST ABOUT THIS TIME/ROBBINS 


CO 


38136 


• 59 


MY SUGAR SO REFINED/UGLY CHILE 


CP 


268 


.59 


EDDIE SAFRANSK 1 






DONT CALL IT LOVe/nEVER LOVED 


CO 


37979 


.59 


WINTER WONDERLAND/GAL CALICO 


CP 


316 


.59 


SAFRANTI c/BASE MOOD 


ATLANT I C85 1 .59 


u not so easy/just plain LOVE 


CO 


37558 


.59 


MOVIE tonite/i do like U 


CP 


367 


.59 


SAM AND HENRY (EARLY AM OS 4 ANDY ) 




GET THE BL/THERES A SMALL 


CO 


37498 


.59 


HOORAY FOR LOVE/THOUSAND ISL 


CP 


15028 


.59 


ROLL THE BONES/BUY 1 NG INSURANCE 


vi 20375 


2.49 


WOULD U BELIEVE ME/wE KNEW IT 


CO 


37325 


.59 



34 



SALE BILL MULL SALE 

OAK STREET KAHNAPOL I S, N.C. 

RECORDS WILL BE SHIPPED PARCEL POST COD, INSURED. AND WILL BE PACKED CAREFULLY. MINIMUM ORDER $ 2.00. CASH SENT WITH ORDERS 
PLEASE ADD 50^ FOR POSTAGE AND INSURANCE. NO CHARGE FOR PACKING. SATISFACTORY DEALINGS GUARANTEED. 



B ING CROSBY 








BING CROSBY 








BOB CROSBY 








BOOTS SAOOLEs/rED AILS SUNSET DE 


616 


E 


.19 


MY BUD' Y/ONLY WANT BUDDY 


3736 


E 


.64 


EM3RACABLE YOU/SHORTNIN BREAD DE 327l 


V 


.79 


SILENT N 1 GHT/ADES TE FIDEL IS DE 


.621 


E 


.88 


PARADISE ISLE/ALOHA 


3797 


E 


.69 


2 DREAMS MET/DOWN ARGENTINE WAY 


3404 


E 


.59 


EMPTY saddles/roundup lullabye 


870V 


.69 


U AND l/BRAHMS LULLABYE 


3840 


V 


.54 


FORGOT ME/GONE NOT FORGOTTEN 


34| 7 


E 


.44 


aloha/song islands 


880 


N 


.99 


BE HONEST WITH Me/gBYE DARLIN 


3856 


V 


.49 


GOT 1 TRACK MIND/D KNOW U 


3434 


E 


.54 


HAWAIAN PARADISE/SOUTH SEA 1 SL 


886 


V 


.64 


OLD KENTUCKY HOME/TIL REVEILE 


3886 


V 


.49 


CHICK EE CHICK/BL ECHOS 


3605 


E 


.54 


SHOE SHINE BOY/HOUSE JACK BUILT 


905 


E 


.39 


WHO CALLS/PALE MOON 


3887 


E 


.64 


SUNSET AT SEA/BIG NOISE WINETKA 


361 1 


E 


.99 


FINE ROMANCE/WAY U LOOK TON 1 TE 


907 


E 


.39 


RIDIN DOWN CANYON/u ARE MY SUNSH 1 NE3952E 


.64 


CHI CKACHI CKABOOM/l Yl Yl Yl 


3623 


E 


.62 


penny heaven/lets CALL HEART 


947 


E 


.49 


NO TE IMPORTE/u MOMENT OF 


5965 


N 


.79 


SWEET GENEVIERE/jNTIL U FALL 


3668 


E 


.49 


SWEET IS WORD/HAVE SO LITTLE 


1 1 84 


E 


.39 


BIRTH OF BL/WAITER AND THE 


3970 


E 


.74 


FLAMINGO. FARAWAY MUSIC 


3752 


N 


.64 


ONE ROSE/SENTIMENTAL AND 


1201 


/ 


.69 


AINT GOT NOBODy/wh 1 STLERS MA 


3971 


E 


.74 


WELL WELL/MUCH MORE LOVELY 


3762 


E 


.72 


NEVER IN MILLION/LITTLE HULA 


I2l0 


V 


.69 


DREAM GIRL OF/sWEETHEAR T 


4000 


E 


.74 


call it anythin/something 1 DREAME038I5E 


.69 


LITTLE BUCKAROO/WHAT |S LOVE 


1234 


E 


.19 


DAYDREAM 1 NG/cLEMENT 1 NE 


4033 


E 


.74 


do u care/will u still be mine 


3860 


V 


.39 


peckin/just LATELY 


1 301 


E 


.49 


DO YOU CARE/HUMPTY HEART 


4064 


E 


.74 


ELMERS TUNE/ANGELS CAME 


3929 


V 


.44 


ALL 1 WANT T.O Do/nATURAL 


1376 


N 


.54 


SHEPARO SEREN/ANNI VERSARY WALTZ 


4065 


E 


.69 


2 in love/sinner kissed angel 


4009 


E 


.54 


BOB WHITE/BASIN ST BL 


1483 


V 


.64 


HOW 1 MISS U TONIGHT/DEAR LITTLE 


B0Y4|52E .69 


TRUSTING IN u/fROM ONE LOVE TO 


4027 


E 


.54 


SAIL ALONG/WHEN U DREAM 


|5|8 


E 


.74 


DEEP HEART TEXAs/lETS ALL MEET 


4|62 


V 


.49 


gay ranchero /something NEW 


4023 


E 


.49 


GOLD MINE SKY/|N THE MISSION 


1565 


V 


.64 


REMEMBER HAWAIl/siNG SONG OF 


4|73 


V 


.49 


weekend havana/imaginery love 


4049 


V 


.29 


PLACE PARADISE/DANCING STARS 


1616 


E 


.99 


miss u/bl IN NIGHT 


4|83 


E 


.84 


TAKE IT EASY/ONLY DREAM 


4137 


E 


1.19 


SENTIMENTAL SIDe/hEART TALK IN 


1648 


V 


.64 


MOONLIGHT COCK TA 1 L/DONT WANT WALK 


4|84 


V 


.49 


ZOOT SU 1 T/BARRELHOUSE BESSIE 


4169 


V 


.49 


MOON MAN1KURA/THIS IS NIGHT 


1649 


V 


.79 


skylark/blue SHADOWS 


4193 


E 


.74 


DONT SIT UNDER/lLL KEEP THE 


4290 


N 


.89 


DONT BE THAT WAy/l|TTLE LADY MAKE 


1794 


E 


.19 


LONE STAR TRAIL/ALONG SANTA FE 


4201 


N 


1.19 


DEAR OLD DONEGAL/YOUR DARLING 


4305 


V 


.49 


LITTLE ANGEl/hAWA 1 AN CHIMES 


1845 


N 


.19 


MANDY IS T/LAMPL 1 GHTER SERENADE 


4249 


V 


.49 


POOR u/last call LOVE 


43 16 


E 


.39 


BL SERENADE/POCKET FULL OF 


1933 


V 


.69 


DRIFTING DREAMLAND/THE SINGING 


4339 


E 


.74 


OVER THERE/SMILE SMILE SMILE 


4368 


E 


.97 


LAUGH AND CALL/DONT LET MOON 


1934 


E 


.99 


OLD OAKEN BUCKET/CONCH 1 TA 


4343 


V 


.49 


SEMPER PARATUS/arMY AIR CORPS 


4374 


E 


.99 


MEXACAL 1 ROSE/SILVER SAGE 


2001 


E 


.69 


HELLO MOM/BOY IN KHAKI 


4367 


E 


.69 


MARINES HYMN/WHERE DO WE GO FROM 


4385 


E 


.89 


MY REVERIE/OLO FOLKS 


2|23 


E 


.99 


BOB CROSBY BOBCATS 








ANCHORS AWE IGH/CA ISSONS 


4395 


N 


. 99 


SUMMERTIME/u MUST HAVE BEEN 


2|47 


E 


.19 


SIGH NO MORE LAD 1 ES/BLOW W 1 NTERDE 


2663 


E 


.99 


VULTEE SPEC IAL/RUSS IAN SAILORS 0ANCE4397E 


.79 


1 HAVE EYES/FUNNY OLD HILL 


2201 


V 


.69 


WASHINGTON LEE SWING/PERUNA 


2789 


V 


.79 


BIG TOm/(bOBCATS ) 


4403 


V 


.54 


LONELY TRIl/bLOOM IS ON 


2237 


E 


.79 


ALL 0VER/ADI06 AMERICANA 


3l04 


V 


.79 


blqesurreal/black ZEPHYR 


44|5 


E 


.49 


JUST KIO NAMED/LONESOME RD 


2257 


N 


.19 


ILL COME BACK/TAKE ME BACK 


3576 


V 


.64 


WOODY HERMAN FOUR CHIPS 








CRIED FOR u/LETS TIE THE OLD 


2273 


E 


.49 


NOT H 1 N TO LIVE FOR/lLL KEEP THIN 


3808 


E 


.89 


ELSI E/YARDBIRD SHUFFLE DE 4353 


E 


.99 


TWEEN A KISS/MY MELANCHOLY 


2289 


E 


.19 


END WORLD/DONT CARE ANYMORE 


4380 


N 


.49 


WOODY HERMAN ORCH 








SWEETHEARTS/SWEET MYSTERY LIFE 


23|5 


E 


.39 


PRECIOUS MEMORY/THOSE THINGS 1 CANT4398N 


.99 


CASBAH BL/FAREWELL BL DE 2582 


E 


1 .39 


EAST SIDE HEAVEN/SING SONG 


2359 


N 


.29 


MAKES NO NEVER MIND/NEVER CRY 


4402 


N 


.89 


LOVE CAP U/6TILL BB 


2658 


E 


.59 


DEEP PURPLE/STARDUST 


2374 


E 


.79 


TOLD U SO/BROKE HEART 


4422 


N 


.89 


JUMPIN BL/BIG MORNING 


2664 


N 


1.29 


poor rover/sir ECHO 


2385 


E 


.99 


BOB CROSBY 








MIDNIGHT ECHOS/COMING VA 


28)7 




.99 


SURR NDER DEAR AlUST BE TRUE 


2535 


V 


.64 


GOODY GOODY/WHAT NAME SONG DE 


227 


V 


.99 


CARELESS/SMARTY PANTS 


2955 


V 


.49 


GOD BLESS AMERICA/STAR SPANGLED 


2400 


V 


.64 


MARY HAD LITTLE/GUESS WHO 


836 


E 


1 .29 


BLUE WORLD/WOULD JA M 1 NP 


2970 


V 


.49 


IF 1 HAD MY WAY/w|STLEING W 1 LD 


2448 


V 


.64 


THRU COURTESY LOVE/KINGDOM FOR 


903 


E 


.74 


EAST SIDE KICK/lSLE MAY 


2993 


V 


.59 


IDA SWEET AS/EL RANCH0 GRANDE 


2494 


V 


.69 


FOGGY DAY/ri|CE WORK 


1539 


V 


.64 


GIVE LITTLE WH 1 STLe/peACH TREE ST 3008 


N 


1.19 


NEIGHBORS IN SKY/START DAY 


2626 


E 


. 1 1 


SHOULD I care/ive STRANGENEW 


1555 


E 


.79 


BESSIES BL/MUSIC BY MOON 


3380 


E 


1.19 


APPLE FOR TEACHER/STILL BB 


2640 


V 


.49 


LETS GIVE L VE/THIS NEVER 


1 566 


E 


.74 


DREAM VALLEy/waTEVER HA= 'EN TO U 


3461 


E 


.49 


MAN AND DREAM/GO FLY KITE 


2641 


E 


.87 


BE GOOD SPORT/SWEET SOMEONE 


1576 


E 


.74 


LOVE LIFE/YOUR THE ONE 


3528 


E 


.49 


GIRL OF DREAMs/wHATS NEW 


2671 


E 


.99 


THRILL LI FET IME/EVERYD Y HOLIDAY 


!580 


E 


.69 


BL FLAME/FURT RPPERS BALL 


3643 


E 


1.19 


HOME ON RANGE/MI SSOURI WALTZ 


2676 


N 


.39 


EASIER SAID THAn/|N SHADE 


1658 


V 


.69 


SLEEPY SEREN/EVERYTHING HAPPENS 


3693 


E 


.49 


ISLE GOLDEN DREAMs/TO U SwEETH 


2775 


E 


.88 


just strollin/wonderful 


1670 


N 


1.19 


UNTIL TOMORROw/GBYE NOW 


3745 


V 


.49 


C 1 Rl 3IRI Bl N/YODELI N JIVE 


2800 


E 


.08 


BE Kl ND/s IMPLY ADORE U 


1693 


E 


.59 


DANCING DAPK/TIME CHANGES EVERY TH 1 375l 


V 


.49 


WRAP TROUBLE s/BWENN 18 AND 19 


2948 


E 


.49 


boy in harlem/how CAN u FORGET 


1732 


E 


.99 


DONT CRY CHER lE/LOVLI NESS LO E 


3874 


N 


.54 


TOO ROMANTI c/MOON WILLOW 


2998 


E 


.29 


YOUR LOVELY/WHAT HAVE U GOT 


2 142 


E 


.54 


THERE GOES SONG AGAIn/u CALL MADNE3894 


E 


.54 


SWEET PA TWO PIPER/ONE MORE CH 


2999 


E 


.49 


2 SLEEPY PEOPLE/WAIT TIL HEART 


2 150 


E 


.59 


LOVE ME L 1 LITLE/PR 1 SONER LOVE 


3955 


E 


.59 


DEVIL MAY CARE/SINGING HILLS 


3064 


E 


.87 


HURRY HOME/DEEP IN DREAM 


2151 


E 


.59 


CONCERTO l/LOVE U 


3973 


E 


.59 


DREAM JEANNIE/THE GIRL 


3098 


E 


.09 


DONT WORRY ABOUT/WHAT GOES UP 


2402 


E 


.89 


FOOLISH HEART/lD LOVE U 


4016 


E 


.49 


MARC HI Ta/6 1 ERR A SUE 


3 I 33 


V 


.64 


STARNGE ENCHANTMENT/SENTIMENTAL 


2415 


E 


.99 


BY U BY O/M 1 SALOU 


4024 


E 


.49 


APRIL PLAYED F 1 DDLE/HAVENT TIME 


3 1 6 ! 


E 


.99 


NEVER KNEW HEAVEN/ROSE OF 


2464 


V 


.54 


DONT BE BL/THREE WYA TO 


4076 


E 


.59 


MEET SUN HALFWAy/pESIMISTIC 


3 162 


E 


.99 


1 WERE SURE/LADYS IN LOVE 


2465 


E 


.59 


TIS AUTUMN/l GUESS ILL BE ON WAY 


4095 


E 


.49 


CYNTHIa/wA 1 TING SHIPS 


3257 


E 


.89 


SMOKEY MARY/SOUTH RAMP ST 


2569 


r 


1 .49 


FOOLED/u CANT HOLD MEMORY 


4188 


V 


.39 


BALLAD AMERICANS 1-2 


3297 


N 


.49 


U CRAZY MOON/MELANCHOLY MOOD 


2652 


E 


l.'39 


EVEN STEVEN/LAMPL IGHTERS 


4253 


V 


.39 


SONG 0L9 HAWAII /TRADE WINDS 


3299 


V 


.59 


OVER RAINBOw/u AND YOUR LOVE 


2657 


E 


.59 


GOT TO GET ST JOE/slNGING BANDS 


4372 


E 


.99 


ONLY FOREVER/wHEN MOON COMES 


3300 


E 


.69 


CHERRY/DAY IN DAY OUT 


2703 


V 


.49 


TOMMY DORSEY 








THATS FOR ME/RHYTHM RIVER 


3309 


E 


.89 


LILACS IN RAIN/WHAT USED TO 


2763 


E 


.59 


TEA ON TERRACE/lN DANCING MOODVI 


25476 


E 


.99 


FOUND MILLION $/CANT GET 


332 1 


E 


.79 


CAN 1 HELP IT/LITTLE MAN WHO WASNT2776 


E 


.74 


GOONA GOO/^IY HEART COULD ONLY 


25508 


E 


.99 


WHEN BL OF NITE/THE 


3354 


N 


.19 


LAST Nl GHT/THOUGHT ABOUT U 


281 2 


E 


.69 


LITTLE BAMBOO BRIDGe/hOW COULD U 


25513 


E 


.89 


PRAIRIE LULLABYE/LEGEND OLD CALIF 


3388 


N 


.94 


ANSWER IS LOVE/HAPPY BIRTHDAY 


2824 


E 


.59 


MELODY IN/WHO BUY VIOLETS 


25519 


E 


.99 


MADE ME LOVE u/EVER THINK 


3423 


E 


.74 


ANDRY/WHOLE NEW THING 


2839 


V 


.49 


SONG india/marie 


25523 


N 


.79 


please/u ARE THE ONE 


3450 


E 


.87 


LITTLE RED FOX/PINCH ME 


2924 


V 


.59 


JAMMIN/TURN OFF MOON 


25553 


V 


.69 


lulj cm i i ncT ii /*> nr m ii i riMr riMr 
whlpj I Luol u/wntir« u i_unij lupiij 


3477 


E 


74 


angel/starl ight hour 


2978 


E 


.99 


BL DANUBE/BLACK EYES 


25556 


E 


.69 


DARLING NELL IE/SW ING LOW 


3540 


N 


.49 


GOTTA GET H0Me/|VE GOT EYES 


2991 


V 


.69 


mountain music/good MORNIN 


25581 


V 


.69 


ID KNOW U ANYWHERE/ALONG SANTA 


3565 


N 


.97 


NEW YOU DARL IN/wiND AND THE 


301 8 


V 


.49 


STRANGERS IN DARk/haPPY BIPTHDAY 


25596 


E 


.74 


LONESTAR TRA IL/NI GHTINGALE 6ANG 


3584 


E 


.74 


SHAKE DOWN STARS/LEANIN ON OLD 


3027 


V 


.49 


YOURE PRECIOUS TO Me/sTOLEN MELO 


25603 


V 


.69 


NEW SAN ANTONIO ROSE/MAKES NO DIF 


3590 


N 


.99 


run rabbit/up chimney 


3039 


V 


.59 


U AND 1 KNOW/GOODBYE JONAH 


25648 


V 


.69 


APPLE TEACHER/SCHOOL DAYS 


3602 


N 1 


.29 


ANGEL DISGUISE/MOMENTS MOON 


3070 


E 


.59 


OLD FLAME/lF U WERE SOMEONE 


25649 


E 


.83 


WHERE RIVER SHANON/DID YOUR 


3609 


N 


.69 


SAY IT/MY MY 


3079 


E 


.89 


NIGHT DAY/SMOKE GETS IN YOUR 


25657 


N 


.79 


DAY IS DONE/CHAPEL IN VALLEY 


361 4 


E 


.69 


CECELIA/THEY OUGHT WRITE BOOK 


3090 


E 


.89 


ONCE IN WHILE/lF ITS LAST 


25636 


E 


.69 


ALWAYS u/LUCKY PEOPLE 


3636 


E 


.69 


BELIEVING/THIS IS BEGINNING 


3103 


E 


.89 


ONE WHO LOVES u/LITTLE WHITE 


25733 


E 


.83 


BRIDS FEATHER/DANGEROUS 


3637 


E 


.69 


DANCERS OILY/WHEN BL OF NIGHT 


3l38 


E 


1.49 


JUST SIMPLE MELODY/LITTLE WHITE 


25750 


E 


.99 


CAMPTOWN RACES/DOLORES 


3644 


E 


.54 


sympathy/fools RUSH IN 


3154 


e 


1 .49 


LET ME LOOi /u COULDNT BE 


25766 


E 


.84 


YES INDEED/TEA FOR TWO 


3689 


E 


.64 


speakeasy/im nobodys baby 


3 179 


V 


.99 


PROMISE ME/SHINE ON HARVEST 


25780 


E 


.96 



35 



SALE 



BILL MULL 

OAK STREET KANNAPOL I S . N.C. 



SALE 



TOMMY DORSEY 
DOWN KITH LOVE/MOAN IN IN MORN I N 25692 E 
MOONLIGHT PURPLE SAGE/GOODN I GHT 25803 E 
DEED I DO/YEA RN IN 258 I 5 V 

WHATLL I DO/OH HOW I HATE TO 25824 E 

cowboy brooklyn/ill DREAM TONITE 25832 V 

25866 E 
26054 N 
26062 V 
26226 E 
26401 V 
26433 E 
26335 E 
26386 N 
26115 N 



ALL THRU NIGHT/MuSIC MAESTRO 
BOOGIE WOOGIE/wEARY BL 
RAINBOW ROUND MOOn/sTOM ° I N 
MIDDLE DREAM/GROW SWEETER 
THAT LUCKY FELLOW /ALL THINGS U 

careless/darn THAT DREAM 

HAVING ANY FUn/gNITE BEAUTIFUL 
SO MANY TIMES/BABY WHAT ELSE 
ANGELS DIRTY/TWEEN KISS 

HAWAIAN WAR CHANT/M I DN I GHT TRAIL 26 I 26 E 

THIS Nl GHT/HONOLULU 26 I 72 V 

ILL BE SEEING u/POLKA DOTS 26539 E I 

marcheta/ill NEVER SMILE AGAIN 26628 V 

ALL THIS HEA VEN/M HER E DO U KEEP 26653 E I 

ONLY FOREVER/TRADE WINDS 26666 V 1 

I COULD MAKE U/THE WORLD IS IN 267|7 E I 

stardust/swanee RIVER 27233 V 

WHATCHA KNOW JOE/EVERYTH HAP 27359 V 

SEEANADE TO SPOT/ANOTHER ONE 27374 V 

LETS GET AWAY 1-2 27377 E 

I LOVE IT SO/u B ETC HA LIFE 27392 E 

YES INDEED/STILL BE MINE 2742 1 V 

KISS BOYS GOODBYE/NEVER LET DAY 27461 E I 

LOVE ME AS 1 AM/9 OLD MEN 27483 E I 

THI6 LOVE MINE/NEIANI 27508 V 

LOOSE LID SPECI AL/GUESS ILL HAVE 27526 N 

SOLID OL MAN/50 MILLION 276)7 E 

SKUNK SONG 1-2 27621 E 

WHO CAN I TURN TO/T I NK OF U 27701 E 

HOW DO U DO/IT ISNT DREAM 277|0 N 

HOW ABOUT u/w INTER WEATHER 27749 N I 

what is this thing/love sends 27782 v 

NOT SO QUIET/lLL TAKE TALLULAH 27869 N I 
SNOOTY CUT IE/MOONLIGHT ON 27876 E I 

WELL GET IT/SOMEWHERE VOICE IS 27887 N 
HES MY GUY/LIGHT CANDLE 27941 N I 

MANOY MAKE UP MINO/sTARTED OVER 20|522E I 
NIGHT WE CALLED/ANOTHER ONE OF 20|533N 
ILL BE SEEING u/lETS PRETEND 20|574E I 

TWO IN LOVE/WHISPERING 20|597N I 

MORE AND MORE/DRIVING ME CRAZY 20|6|4N 
I SHOULD CARE/PLEASE DONT SAY NO 20I625E 
nevada/thats IT 20|7|0N 
U CAME ALONG/HONG KONG BL 20l 722N 

chloe/at FAT MANS 20I737N 

TOMMY DORSEY CLAMBAKE SEVEN 
ALAS I 8ABY/GYP6Y FROM 25577 V 

STARDUST ON M00n/hAV|NG W0NDERFUL2563O E 

ELLA FITZGERALD SAVOY ElQHT 
MY TURN NOW/BEI MIR BIS DU OE I 596 

SAVING SELF FOR u/wE CANT GO I 846 

WOE IS ME/6TRICTLY DIXIE 2202 
DONT WORRY 80UT ME/ONCE IS ENOUGH 245 1 

if u ever change mind/if anything 248i 
live and learn/if thats what 

ELLA FITZGERALD ORCH 
thats all brother/want wai ter 
gonna lose gal/wubba dolly 
moonray/betcha nickle 
imagination/sugar BL 
takin chance love/cabin sky 
5 ocl whistle/so long 

DEEDLE DE OUm/gULF COAST BL 
3 LITTLE WORDS/ONE I LOVE 
HELLO MA/WISHFUL THINKING 
KEEP COOL FOOL/NO NOTHIN 

im thrilled/make L VE TO ME 

SOMEBODY LOVES ME/U DONT KNOW 
COME BACK CRYING/GETTING MIGHTY 
ELLA FITZGERALD FOUR KEYS 
HES MY G<JY/4 LEAF CLOVER IN 
MUST HAVE THAT MAn/hEART AND I 



2581 



2628 N 



28 16 
2904 
2078 
2490 
3420 
3324 
2608 
3612 
3754 
4073 
4082 
4315 



18472 N 
18530 N 



.74 
.74 
.69 
.74 
.54 
.99 
.79 
.69 
.74 
.64 
.99 
.89 
.89 
.99 
.69 
.69 
.39 
.69 
.49 
. 1 1 
.49 
.49 
.89 
.69 
.99 
.74 
.49 
.14 
.19 
.89 
.79 
.74 
.69 
.99 
.99 
.29 
.89 
.49 
.39 
.79 
.19 
.39 
.79 
.19 
.19 
.79 
.74 
.79 
.79 
.79 

.99 
.99 

.14 

.12 
. I I 
.10 
.10 
.09 

.99 
.89 
.99 
.74 
.69 
.63 
.19 
.19 
.74 
.54 
.84 
.79 
.49 

.69 
.69 



GENE KRUPA 

SWANEE RIVER/JEANNIE LIGHT BR OWN B R8387 E I 
maybe/never SMILE AGAIN OK 5643 E 
LOVE LIES/ONLY FOREVER 5686 V 

MOON OVER BURMA /BREAK I NG HEART 58|4 E 
2 DREAMS/DOWN ARGENTINE 5826 E 

KNOW U ANYWHERE/LIKE FELLA 5836 E 

SOMEWHERE/DANCED DYNAMITE 5859 N 

SOMEWHERE/DANCED DYNAMITE 5859 N 

U ARE THE ONE/lSNT THAT JU6T 5935 N 

THERELL BE CHANGES/THESE THINGS 6021 N 
ALL REET/GEORGIA 6 1 I 8 E 

LETS GET AWAY/JUST LITTLE BIT 6l 30 E 

THINGS I LOVE/LITTLE MAN WITH 6 1 43 E 

WHERE U ARE/TAKE I T TO U 6 1 87 E 

TIL revelle/cowboy SEREN 6266 V 

GREEN EYES/THROW I NG PEBBLES 6222 E 

HAVE U CHANGED/GOT LETTER 6306 N 

RANCHO PILLOW/U WERE THERE 6376 N 

AMOUR/WATCH BIRDIES 6400 N 

WALLS KEEP TALK I Ng/cOME BE LOVE 6438 N 
2 IN LOVE/THIS TIME DREAMS 6447 N 

THINK OF u/ANNIVERSARY WALTZ 6465 E 

DAY DREAMING/TROPICAL MAGIC 65 I 7 N 

MARINES HYMN/CA I SSONS GO ROLL 6582 N I 

NIGHT NIGHTS/F IGHTING DOUG MC ARTHUR6635N 

LIKE RECOGNIZE/ALL DRESSED CO 35237 E 

I WALKED I N/l REMEMBER SUSAN 36768 N 

KNOCK ME KISS/DELIVER TO TENN 36591 N 

JIMMY DORSEY 
ROMANCE RUNS/GOOD FOR NOTHING DE 2294 E 
DEEP purple/fate 2295 V 

ALWAYS MOON/GET ALONG WITHOUT 2322 E 

POURED HEART/OLD FASHIONED 2553 V 

ri gamarole/swamp FIRE 29l8 E I 

BREEZE AND I /LITTLE CURLY HAIR 3 1 50 V 

perfidia/contrasts 3198 V 

dolomite/hep Tl HOOTIE 33 1 2 V 

MARIEELNA/GREEN EYES 3698 V 

BE FAIR/ROSE AND PRAYER 38|2 V 

ISLE PINES/TIME WAS 3839 E 

jim/new SHADE BL 3963 E 

WASNT IT U/MOONLIGHT MASQUERADE 399l E 
TROPICAL MAG I c/HAPPENED HAWAII 4034 V 

ANY BONDS T0DAY/(ANDREW6 SIST) 4044 V 

DAYDREAM/MAG I C MAGNOLIA 4047 E 

TOMORROW SERENADE/|M GLAD U 4|97 E 

TAINT NO GOOD 1-2 4264 E 

ME AND MEL I NDA/ABSENT MINDED MOON 4263 E 
THREW KISS/SLEEPY LAGOON 4304 E 

FULL MOON/u ARE BUT DREAM 43 1 2 E 

GLENN MILLER 

MOONLIGHT SER/SUNRISE SER BB |02|4 V 

LITTLE BROWN JUG/PAVANNE 10286 E 

imagination/say SISI I 06 1 2 E 

ALONG SANTA Fe/yES DARLING 10.970 E 1 

PRA I R I ELAND LULLA BYE/MEMORY ROSE I I 0 1 0 N I 

WHEN MAN DEAD/LITTLE OL CHURCH 11069 N I 

DONT CRY CHERIE/SWEETER THAN I I 1 83 V 

BELOW EQUATOR/COWBOYSEREN 11235 E 

kiss polka/happened SUN VALLEY 11263 V 

im thrilled/from ONE LOVE ANOTH 11287 E 

MAN IN MOON/MAMA MARIA 11299 E 

ELMERS TUNE/DEL I LAH I I 274 E I 

DREAMS ON ME/SAYS WHO I|3|5 E 

DREAMS V I LLE OHIO/paPA NICOLINI I I 342 E 

BABY MINE/EVERYTHING I L VE 11365 E 

HUMPTY DUMPTy/tHIS NO LAUGHING 11369 E 
WERE COUPLE IN CASTLE/wHITE CLIFFII397 N I 

MOONLIGHT COCKTA Il/haPPY IN LOVE I 1 401 E I 

FOOLED/HAPPENED HAWAII I|4|6 N I 

ANGELS MERCY/PRE6 BALL 11429 N 
SHIP OFF OLD BLOCK/LETS HAVE AN0THI|450E 

ON OLD ASSEMBLY L I NE/jOHNNY 11480 E 

DONT SIT UNDER APPLE TREe/lAMPL I 1 474 E I 

ITS MILITARY SECRET/SHELL ALWAYS 11493 E 

AMERICAN PATROL/LET ME READ YOVI 27873 N I 

KNIT ONE/LULLABYE RAIN 27894 E 



.49 
.99 
.49 
.44 
.44 
.59 
.54 
.54 
.49 
.59 
.39 
.59 
.59 
.74 
.39 
.89 
.49 
.49 
.59 
.69 
.49 
.54 
.49 
.19 
.49 
.54 
.79 
.79 

.49 
.49 
.54 
.39 
.19 
.49 
.99 
.99 
.99 
.54 
.54 
.54 
.54 
.39 
.39 
.74 
.54 
.99 
.74 
.69 
.54 

.69 
.99 
.99 
■ I I 
.19 
.39 
.69 
.99 
.69 
.99 
.99 
. I I 
.99 
.99 
.89 
.99 
.1 I 
.19 
. I I 
.99 
.99 
.99 
.1 I 
.99 
.14 
.99 



GLENN MILLER 

LONG TALL MAMA/CONCHITA 27943 V 

DEARLY BELOVED/OLD FASHIONED 27953 V 
MOONLIGHT BECOMES u/MOONLIGHT M0020I520N I 

RAINBOW RHAPSODY/MUST BE JELLY 20I546E 
LONG TIME NO SEE/HERE WE GO AGAIN20|563N 

BASKET WEAVER MAN. LITTLE ST IN 20I585N 

HELPLESS/WHEN JOHNNY COMES 20|600N 

TEDDY POWELL 

KICKIN CONGA ROUND/GBYE MAMA BB I|4|2 N 

ALL THRU NIGHT/HOW DO U DO 11427 E 

ALL THOSE WONDERFUL/THERE WONT I 1 499 E 

GOT MOON IN MY/SOMEBODY THINK 11520 E 

MIDSUMMER MA T I NEE/CA REFUL HEART 11554 E 

TAPESTRY IN Bl/lOVE IS SONG 11556 E 

HELPLESs/wHY DONT U FALL 11575 E 

MA RCHBTOYS/PERS IAN MARKET DE 2906 E 

someday/pussy IN CORBER 294| E 

THE SPHINX/FLEA ON SPREE 2985 E 

OUTSIDE THAT/TAKE LETTER 32 1 8 V 

FEATHER MERCHANTS/TEDDY BEAR 3234 V 

ART IE SHAW 

INDIAN LOVE CALl/bEGIN BEGUINEBB 7746 N , 

ANY OLD TIME/BACK BAY SHUFFLE 7754 N I, 

Nl GHTMARE/nON STOP FLIGHT 7875 N , 

ROOM WITH VIEW/THEY SAY 10075 E 

rosalie/lover COME BACK 1 0 1 26 E , 

DELIGHTFUL DELER I Um/wANT MY SH 1 0 I 34 E , 

PROSSCHl/lN LOVE HONORABLE 1 0 1 38 V , 

u so indifferent/snug AS BUG 102 1 5 V , 

COMES LOVE/CANT AFFORD 10324 V , 

GO FLY KITE/MAN AND DREAM 10347 E , 

frenesi/ad IOS MARCHITA VI 26542 N , 

STARDUST/TEMPTAT I ON 27230 N , 
WHISPERS IN NIGHT/FORGOT ABOUT ME27256 N , 

LOVE ME LITTLE/DONT TAKELOBE 27509 E , 

BL IN NIGHT/THIS TIME DREAM 27609 E , 

K I DO IN AROUND/SOMETIMES I FEEL 27806 N 

DEUCES WILD/BROADWAY ROSE 27838 V , 

2 IN I bl/(vallee) 201526V , 
now we know/(martin) 20i537n 

ANY OLD TIME/HEART STOOD STILL 20 1 575n , 

ALL THINGS U ARe/(D0RSEy) 20I56IN , 

HAD BE u/DONTTAKE LOVE 20|593N , 

LADY DAY/LETS TAKE LONG WAY 20|620N , 

THATS FOR Me/yOLANDE 20|7|6N , 

BEGIN GEGUINE 1-2 44000IN , 

calipso/beau NITE HOTCHKISS 2731 5 V , 

PRELUDE C MAJOR/WHAT IS THERE TO 27432 N , 

BLUES 1-2 27411 E I, 

GA ON MIND/WHU SHOULDNT I 27499 E , 

1 1 LL BRADLEY 

SCRUB ME MAMA/THERE I GO CO 35743 E I , 

3 RING RAGOUT/SHOULD HAVE KNOWN 35871 E I, 
HIGH WINDY HILL/LOVE OF LIFE 359 1 2 E , 
TALKING TO WIND/WHAT YA HEAR 26052 E , 
ITS SQUARE BUT ROCKs/PRA I R I ELAND 360|4 V . 
CALL ME TAX I /SHADOWS IN SAND 36082 V , 
TEA FOR 2/THINK OF ME 36|0| N I, 
M I SUNDERSTOOd/whEN U AND I WERE 36 I 82 N , 
CITY CALLED HEAVEN/TIRED WAITING 36297 E , 
JACK JILL/DONT LET JULIA 36372 E , 
STOP AND ASK/APRIL PARIS 36401 E , 
THREE BEEs/l THINK OF U 36444 N I. 
GUESS BE ON WAY/SEEING U AGAIN 36547 E , 
(TRY I N THE BOOGIE BL/jINGLE BELLBB 70 1 3 N . 
SUGAR HILL BOOG I e/l I GHTN I NG CELEB70l4 V , 

EDITH WILSON & JOHNNY DUNNS CP- IG J.B . 

CHANGES MADE/GOTTA BE CO |4066 E I , 

VAMPN LIZA JANE/NERVOUS BL 3479 E I, 

MAMMY IM THINKIN OF u/lfAKE IT 3634 N I, 



,'49 
,49 



36 



AUCTION 
















AUCTION 










NORMAN L SHEPARD 
















3037 GRACELAMD AVE., INDIANAPOLIS, INDIANA 






RECORDS SHIPPED RRX COD. NO PAKING CHARGE 


OVER % 5.00. UNDER $ 5.00. WINNERS NOTIFIED. CONDITIONS GUARANTEED. LARGEST 


3RDERS 


GIVEN PREFERENCE. MINIMUM BID 


$ I.OO. ACCEPTABLE BID ON ENTIRE LIST OF 3ERIGANS. 


LA rKL oo 


;harges prepaio. 






LOU IS ARMSTRONG 








GLENN MILLER (BERIGAN) 






putney DANDRIDGE ORCH 






U DRIVING ME CRAZY/PEANUT VENDOR 


OK 


41478 


V 


SOLO HOP /s PANISH TOWN 




JJOcI N 


WHEN 1 GROW TOO OLD/cHASING SHAD 


vo 


2982 E 


SWEET SAV SUE/BLACK BLUE 


PA 


1573 


N 


RED NORV 0 SEPTET (BERIGAN) 






DORSEY BROS 






BY AND By/(bASIE) 


DE 


3946 


E 


NIGHT IS BL/alL VY HEART 




3026 E 


THE WORDS IN HEARt/lULLABYE BROADWAYDE 370 N 


ALL STAR ORCH (GOODMAN, MCPART) 






rfnmy r.nnni/AN (afri^anI 






NIGHT WIND /d 1 N A H 


OE 


376n/e 


DEEP ARMS LOVE/CLOSE MY EYES 


hm v 22i97n 


K ! NG PORTER ''s OM ETIMES IM HAPPY 






ILL NEVER SAY NEVER/EVERY LITTLE 


DE 


480 V 


COUNT BASIE ORCH 








BALLAD IN B l/gE T RHYT HM IN FEET 




?Sf)Rl N 
C J\Jo | N 


rLuu! CINuLIOn ^ Lfl N b ^ 






MANY SEND LIST) IF 1 COULD BE/TAXI 


VO 


4748 


N 


J 1 N'GLE BELLS /SANTA CLAUS 




25 1 45 N 


PUfl D1 f^TllW M n[W /ll/AMT 1 1 TTI c* i n 
l^nH HL CO lUPi DHOT/WhNI LI | | LL LU 


VO 


I5093E/V 


JUMP FOR ME/l2 ST RAG 


OK 


4886 


N 


ALL STAR BAND (8ERIGAN) 






ROY ELDR 1 DGE 






BABY DONT TELL ME/ROCKABYE BASIE 


OK 


4747 


N 


TUC - D| 1 ICC /m I IC I A| 1 




26 1 44 n 


AFTER U GONE/LAZY RIVER GOES 


VO 


3458 N 


GEORGIANA/BL IN DARK 


DE 


1682 


N 


GENE GIFFORD ORCH (BERIGAN) 






HIGH SOCIETY/MUSKRAT RAMBLE 


MW 


10091 N 


EVERY TUB/NOW WILL U BE GOOD 


DE 


1728 


N 


DIZZY GLIDe/sOUARE FACE 


VI 


c JUDJ N 


DUKE ELLINGTON 






ROY BARGY (TRUMP, CLAR GUIT) 








NEW ORLEANS TW 1 ST /NOTH IN BUT BL 


BB 


1 0704 N 


LIVE LOVE/COCK TAILS FOR 2 


HMV 24617V 


NOT ALL RICE CH I N A /{ PAMONA ) 


HMV 2445 


N 


HAL KEMP (BERIGAN) 






ROCKIN RHYTHM/|2 ST RAG (jb) 


BR 


6038 E 


BUNNY BERIGAN BOYS 








In |l\uo MH U L. run l_Uvt_/ inH lo RnA I 




4307- v 


JAZZ CONVULTI ONS/jOLLY WOG 


BR 


4705 E 


SWING MR CHARLIE/BEEN SO LONG 


VO 


31 79 


E 


TROUBLES OVER/GYPSY 


BR 




TOMMY DORSEY ORCH 






LITTLF BIT LATER On/bEEN SO LONG 


VO 


3224 


N 


i noMT ra or /i ovaqi r 

1 UUIy 1 I/HMl/ LUVH3LL 




3973 E 


KISS BOYS GOODBYE/NEVER LET DAY 


VI 


2746 in/e 


WHEN IM WITH u/BUT DEFINITELY 


VO 


3253E/N 


1 K 1 SS/ ( K A T ZM A N ORCH) 




42 1 6v /e 


PICKED FLOWER/PLEASE BELIEVE ME^ 


V 1 


25217 E 


BILLIE HOLDAY (FEAT BERIGAN) 








WASH L FE /h 1 G H ON HI LL 


BR 


4078 E 


CARELESS/DARN THAT DREAM 


V 1 


26433N/E 


summertime/billies BL 


VO 


3288 


E 


BUNNY BERIGAN ORCH 






stardust/swanee RIVER 


VI 


27233 N 


DID 1 REMEMBER/NO REGRETS 


VO 


3276G/V 


DIXIELANO SHUFf/lETS DO IT 




7856 N 


LETS GET AWAY/ 1-2 


VI 


27377 E 


FINE ROMANCE/CANT PRETEND 


VO 


3333P/V 


GONNA KISS SELF /& 1 G BOY B L 




7847 N 


LOOK IN AROUND/MR GHOST GOES 


VI 


25509 N 


1-2 BUTTON/LETS CALL HEART 


VO 


3334 


N 


GONNA GOo/BL LOU 


BR 


7832 E 


BENNY GOODMAN 






DICK MC DONOUGH ORCH (FEA BERIGAN) 




IM COM IN VA/BLUES 


DE 




DIXIELAND BAND/HUNKADOLA 


HMV 25009E/N 


OLD FLAME NEVER/u AND 1 KNOW 


ME 


7 1 I 1 I v/e 


TOOK AOVANTAGE ME/cHICKEN WAFFLES 




|8n7 n 


THESE FOOLSH THI NGs/sENTIMENTAL 


VI 


25351 N 


WITH THEE 1 SWING/DANCING MOOD 


ME 


70l07p/v 


CAUSE BABY SAYS ITS SO /c ANT PUN 


CI 


25502 E 


PLEASE BE KIND/TIPITIN 


VI 


25814 E 


GOONA GOo/cAlvT LOSE LONG 1 NG/ 


Ml 


70312 


G 


MAHOGANY HALL/CHOP 1 NS GHOST 




25622 N 


YANKEE DOODLE NEVER WENt/nO OTHER HMV25I 93 E 


DARDANELLA/DEV IL DEEP BL SEA 


ME 


70204 


E 


STRANGE LONL 1 NES S/M 1 LE S APART 


VI 


c- JDyVJ N 


NEVER DO ANYTHIN/HOUSE HOP 


VI 


25350 N 


BULLOCK (BERIGAN) 








LOVE MERRY GO ROUND/SWANEE RIVER 




25588 N 


SWEET SUE/mELANCHOLY BABY 


V 1 


25473 N 


YOu/TA INT NO USE 


ME 


60601 


N 


DOWN STREAM/SOPH SWING 


V 1 


258 1 1 N 


LOCH LOMOND/CAMEL HOP 


VI 


257|7 E 


SING OLD FASH 1 ONED/GONNA SIT RIGHT 


M E 


603 10 


N 


LETS HAVE ANOTHER/ROSES DEC 




?Sfi 1 ^n /r 


stardust/sta ROUST 


VI 


25320 E 


HAVE U EVER BEEN LlNELy/sTORMY 


MC 


1 2680V /e 


NEVER FEL T B ETT ER /OLD DES ER TED FA 


VI 


28858 E 


ALEX RAG 8AND/RIFFIN RITZ 


V 1 


25445 N 


TRUMBAUER (BERIGAN) 








ran Tinr/pcr riit roriT 

t DO 1 1 UL/utt D U 1 uMLM 1 


VI 




FEEL 1 N HIGH HAPPy/lET SONG QO OUT VI 


25840 N 


BL MOON/DOWN TO UNCLE BILLS 


HMV 24812 E 


WALKIN '"'OG/lN MIST 




25(23 n 


DONT BE THAT WAY/ONE OCL JUMP 


VI 


25792 N 


troubled/plantation ODS 


i/l 24834 n 


FATHER DEAR FATHER/LET THIS BE 




?AC|A I m 


TIGER RAG/wi SPERI NG 


VI 


254f,l N 


DORSEY BROS. (BERIGAN) 








CANDLELtGHTS/lN DARK 




26l22 N 


PECKIN/CANT WE BE FRIENDS 


HMV2562I E— 


MOOD INDIGO/lOUISIApA HAY RIDE 


BR 


6470f/e 


VA U A n IT UftU 1 M /D/ITTv /"" A If C" 

il HAL* 11 vuM 1 N/rM 1 It L,AKl 




?ft i Qfiw /r 


DEAROLO SOUTHLAND/l COULD BE WITHBB 


10458 N 


ROLL ON MISS. /SHOUT SISTER 


BR 


6109 


E 


IM t ITTI C ' da M I cu T n III M 1 C AWT UP D 
1 L.I 1 IL-H OrHII 1 On 1 UWPly' L Mil 1 H t-l_ r 




?fi i S^r /n 


CHRISTOPHER COLUMBUs/dEV 1 L DEEP 


BB 


10460 E 


CHANGES MADE/DEVIL AND DEEP 


BR 


62 1 9 


r- 


RUSCIAN LULLA8YE/( LOMB A RDO ) 




£-OLAJ 1 N 


CANT WE BE F"R 1 ENDs/si NG ME SWINQ 


BB 


10462 N 


SENTIMENTAL r,EN TL EM A n/dOWN ON DELTA BR 


3695 


E 


Dl_ H U r. DUI 1 UM / 1 HLC3 




CO I N 


CRIED FOR u/wHERE OR WHEN 


BB 


1 1456 E 


WHATYA DO TO ME/SUGAR TO TEA 


BR 


6083V/E 


ia.77 lie ni /ruAMf rc u Anr 

JM( £ Ml DL/UnHrJljCO (VIHUL. 




26244 N 


MARGIE/FAREWELL BL 


BB 


10973 E 


IT DONT MEAN THINg/mINNIE MOOCHERS 


VO 


4546 


N 


SIMPLE SWEET/WONT TELL SOUL 


V 1 


CUKJO^J Pi 


JERSEY BOUNCE/STRING PEARLS 


OK 


6590V /e 


DORSEY BROS (MILDRED BAILEY 


1 BERIGAN 




PRINCE FELLOw/why DESNT SOMEBODY 


VI 


2fi055 N 


COLEMAN HAY K INS CRCH 






CANT MAKE MOST ANYTH|n/SHES FUNKY 


9 


7542 


V 


ROCKIN ROLLERS/BUTTON BUTTON 


VI 


£-\J\j II N 


FUNNY THAT WAy/mEET DR FOO 


BB 


10477 N 


IS THAT RELIG 1 ON/HARLEM LULLABYE 


BR 


6558 


E 


SOBBIN BL/CRIED FOR U 


V 1 


26 1 |6 *E 


BOUNCIN BEAN/WEN DAY IS DONE 


BB 


10693 N 


LAZY BONES/CABIN IN PINES 


BR 


6584G/V 


DAVENPORT BL/FLASHES 


V 1 


26 1 2 1 Z 


netchas dream/chicago 


DE 


661 E 


DORSEY BROS (BERIGAN) 








DEED 1 DO/ JELLY ROLL BL 


VI 


26 1 1 3 N 


LIONEL HAMPTON 






MOOD HOLLYWOOD/SH IM SHAM SH|Mf."Y 


CO 


36066 


N 


AY AY AY/A INT SHE SWEET 


VI 


26753 N 


jivin vibes/stomp 


V 1 


25535 N 


GETTIN SENT IMENTAL/SI NGS ING 


BR 


6409 


E 


LITTLE GATE SPECIAL/GANG BUSTERS 


V 1 


tojjn N 


CONFESS 1 N/DRUM STOMP 


VI 


25658 N 


MOOD HOLLYWOOo/sHIM SHAM SHIMMY 


f 1 R 


6537 


E 


LIVERY STABLE BL/HIGH SOCIETY 


VI 


CDUDO L 


4©5 times/found new baby 


VI 


26447 N 


MILDRED ALLEY CATS (BERIGAN) 








IM HAPPY DARLING/lMAGE OF U 


VI 


?SSR7\/ /f 


ERSK INE HAWKINS 






WILLOW tree/honeysuckle Pi SE 


DE 


|8|0| 


N 


SOMEWHERE SOMEBODY ELSE/LITTLE TH 


VI 


25868 E 


LOVE U TRULY/BL SEA 


BB 


1 |4|9 n 


roWNHEARTED BL SQUEEZE ME 


DE 


|8| 09 


N 


MAMA 1 WANNA MAKe/hAVE U EVER 


V 1 


25877 E 


HOT PLATTER/WEDDING BL 


B8 


10364 N 


ADRIAN ROLL 1 N 1 'BERIGAN) 








LADY FIFTH AVE/ALL GOD CHILLUN 


VI 


25609 E 


AFTER HOURS/SONG WANDERER 


BB 


10879 N 


SOMEBODY LOVES ME/DAVENPORT BL 


OF 


359 


N 


1 LOVE PLAY LOVE SCENe/nEW ROMANCEVI 


25688 E 


FLETCHER HENDERSON 






AH BUT ITS LOVE/GOTTA GET UP GO 


ME 


12756 


E - 


PEG 0 MY HEART/NIGHT SONG 


V 1 


27258 N 


RIFF IN/GRAND TERRACE RHYTHM 


V 1 


25339 E 


DREAM ON/lF 1 HAD SOMEBODY 


ME 


12766 


E 


SWEET VARSITY SUe/wHY TALK LOVE 


V 1 


C- JOO / N 


U CAN DEPEND ON ME/j|MTOWN BL 


VI 


25379 N 


SITTIN ON LOG/RAISED HAT 


ME 


12855 


V 


JAM SESSION VICTOR 1-2 (2 COPIES) 


VI 




LIMEHOUSE BL/WRAPPIN IT UP 


DE 


157 N 


SAVAGE SERENADE/SWEET MADNESS 


ME 


12829 


N 


ALL DARK PEOPLE BORN/( T .DORSEY ) 


V 1 


£ JJJ / E/V 


GLENN MILLER ORCH 






SITTIN ON 8ACKYARD/BY WATERFALL 


OR 


2756 


V 


HI HO/PI ANO TUNER MAN 


VI 


25766 N 


GUESS ILL HAVE DREAm/a TRAIN 


BB 


1 1 187 N 


AH BUT IS IT LOVE/GOTTA GET UP GO 


OR 


2736 


E 


study brown/caravan 


VI 


25653 E 


SONG VOLGA BOATMEn/cHAPEL VALLEY 


BB 


1 1 029 N 


ILL BE FAITHFUL/BELOVED 


PE 


159 19 


N 


HA DM T ANYONE TILl/aZURE 


V 1 


OWD N 


OUR LOVE AFFAIR/CALL CANYON 


BB 


10845 V 


song surrender/coffee in morning 


PE 


15816 


N 


cant get started/prisoners SONG 


VI 


36208 E 


ARTIE SHAW' 






u got eberything/so goodbye 


PE 


15831 


N 


<",0T IT BAD/WHITE CLIFFS DOVER 


EL 


5006 E 


SUMMIT RIDGE DRIVE/CROSS HEART 


VI 


26763 N 


who wlks in/got jitters 


PE 


15377 


V 


CAB CALLOWAY ORCH 






SHADOWS/l DODNT KNOW WHAT TIME 


BB 


10502 N 


RED MC KENZIE (BERIGAN) 








congo/my gal mezzine 


VO 


3825 N 


DID U EVER CHANGE MINd/u GROW SWEETER|0|95 N 


murder in moonlight/lets swing it 


DE 


507 


N 


AD DE DEY/RATAMCUE 


VO 


4700 N 


MISCELANEOUS SINGLES 






DOUBLE TROUBLE/THATS WHAT U THINK 


DE 


521 


f. 


r COL IN WITH U/BUGLE BL 


VO 


40 1 9n/e 


FREDDY MARTIN-WASHBOARD BL 


BB 


7378 N 


MONDAY IN MANHATTAN/EVERY NOW THEN 


DE 


587 


N 


PICKIN CABBAGE/PARADIDDLE 


VO 


5467 N 


MUGGSY-DI PPERMOUTH 


BB 


10506 N 


GA ROCKIN CHA 1 R/wOULDNT 1 BE WONDERDE 


609 


N 


MANHATTAN JAm/pECKIN 


VO 


3830 E 


VALLEE-ST LOUIS BL 


VI 


22321 E 


DONT KNOW NAME/DONT COUNT KISSES 


DE 


721 


E 


BENNY CARTER 






VARSITY SEVEN-SHAKE IT BREAK IT 


VS 


8179 N 


MOON ROSE/wHEN LOVE IS GONE 


OE 


734 


I i 


ALL OF ME/VERY THOUGHT OF U 


BB 


10962 N 


WEEMS-MISS ANNABELLE LEE 


VI 


20846 N 


SING OLO FASHIONED/lM BUILDING UP 


DE 


667v/e 


BL LIGHT BL/lM COM IN VA 


V 1 


26221 E 


OZZIE NELSON-LATIN MANHATTAN 




N 


CANT GET STARTED/PULL RABBIT 


DE 


700 


N 


BOB CROSBY BOBCATS 






RAY NOBLE— LETS SWING IT 


VI 


25070 E 


BUD FREEMAN (BERIGAN) 








U MY darling/hung my head 


DE 


4346 E 


RED NICHOLS-WAIL WINDS 


BB 


10408 N 


TILLIES DOWNTOWN/BUZZARD 


DE 


1 3 1 |2 


N 


LOOPIN LOOp/lNSPIRATON 


DE 


2209 N 


JONES SMITH-EVEN IN/SHOE 6HINE BOY VO 


3441 E 


WHAT IS THERE TO SAy/kEEP SMILING 


DE 


1 e 1 1 3 


N 


muskrat ramble/dixieland shuffle 


DE 


3338 N 


HINES-PLEASE BE KIND 


VO 


4008 N 



37 



AUCTION 














AUCTION 








AL KURTZ 
















6333 RICHARDSON ST., 


DE T ROI T II, 


MICH IGAN 












WINNING 3 IDS COT 1 F 1 EC . NO PACK 1 KG 


CHARGES. 








BERT Ambrose 






DUKE ELLINGTON 






JOHNNY GUARANERI 






Plain jane/early mormn bl 


DE 


2667 E 


E ST LOUIS/BLACK BEAUTY 


BB 


6430 E 


BODY SOUL/NOBODY SWEETHEART 


MA J 


1032 E+ 


M ILDRED BA 1 LEY 






SERENADE SWEDEN/SGT CHY 


CO 


352|4 E 


EXERCISE IN SWING/BASiE ENGLISH 


SAV 


509 E 


DOWNHEARTED BL/SQUEEZE ME 


DE 


|8|09 N 


lonely coed/bouncing BOUYJNCY 


CO 


3524 0 E 


SALUTE FATS/THESE FOOLISH THINGS 


SAV 


5| 1 E 


willow tree/honeysuckle ROSE 


DE 


1 81 08 N 


DAYBREAK EXPRESs/DEAfi SOUTHLAND 


VI 


24501 E+ 


JOHNNY HODGES 






PETE BROUN 






CREOLE LOVE CALL/BLACK TAN 


VI 


24861 N 


GOOD QUEEN BESS/THATS BL 


BB CI 1 P 1 V N 


PETES IDEa/jIMS IDEA 


SE 


|20|? E 


DON T GET A ROUND MUCh/cOTTON TAIL 


VI 


26610 E 


SQUATTY ROO/THINGS AINT WHAT 


BB 


1 |447e/v 


ocean kotion/tempo jump 


DE 


1 B 1 1 S E 


MORNING GLORY/MACK THE BEAR 


VI 


26536 N 


swingin aupus/like SHIP 


VO 


47l0 E 


3ARNEY BIGARD 






CROSS TRACK. CHLOE 


VI 


27235 v 


DANCE GOONS/HOMETOWN BL 


VO 


4941 E 


cravan/stompy JONES 


VR 


5|5 E 


TAKE A TRAIN/SIDEWALKS NY 


V 1 


27380 E 


GOOD GAL BL/BAVCY STRUT 


VO 


5170 E 


CHU BERRY 






MOON M 1 ST/C JAM BL 


VI 


27856 v+ 


EDMUND HALL 






body scul/starcust 


cm: 


i502n/e 


PERD IDO/RA 1 NCHECK 


VI 


27380 E 


PROFOUNDLY BL/CELESTIAL EXP 


BN 


17 E 


CHARLIE EAR NET 






JOHNNY COME LATELy/mAIN STEM 


V 1 


20I556E 


JAMVIN IN 4/E HALL BL 


BN 


18 E 


cherokee/record WAV 


BBC 103 73 E+- 


BBICK FLEAGLE 






SMOOTHE SA IL ING/ROMPIN 44 


BN 


30 E 


REDSKIN RUMSa/sOUTHERN FRIED 


B8 


10944 E 


SLIGHT CASE SHAKES/SAME OLD SHEAV 


HRS 1005 E+ 


SEE 1 N PED/BL INTERVAL 


BN 


3| E 


dukes idea/counts idea 


BB 


10453 E 


LEONARD FEATHER 






face/conti NENTAL 


C0NT60I0 E+ 


lum^y/phyllyse 


BB 


1 |0|4 F+ 


ESQUIRE Bl/bOUNCE 


CMS 547 e 


LIONEL HAMPTON 






DON BY AS 






GLEN GRAY 






jumpin jive/memories of u 


V 1 


26304 E 


tree easy/bass c jam 


SAV 


524 E 


ROBIN HOOD/THIS HEART VINE 


D E 


18639 E+ 


STOMPOLOGY/SW 1 NG 1 N GUITARS 


V 1 


25601 E+ 


COUNT 8AS:E 






SONNY GREER 






GIN FOR XMAS/HEEBIE JEEBIES 


VI 


26423 E 


BOOGIE WOOGI E/exaCTLY LIKE U 


DE 


1252 E+ 


BEGGARS BL/SAT MIGHT FUNCT (rc) 


VO 


3012 E 


FLETCHER HENDERSON 






1 OCL JUMP/jOHNS IDEA 


DE 


i363v/n 


TEDDY GRACE 






MUSCLE SHOALS Bl/hOUSTON BL 


CO 


164 N 


JUMPIN »ocos ioe/dark RAPTURE 


DC 


22|2 E 


LONESOMEDT GAl/bys l-ACK ROOM 


D E 


3428 E 


SING u simners/laughin BOY BL 


VO 


4|25 N 


good morning/doggin around 


DE 


|Ei25e/n 


LOVE ME LEAVE ME/CRAZY BL 


DE 


2050 N 


QUEER NOTIONS/OLD FASHIONED LOVE 


DE 


1 8 1 69 N 


Sugar bl/bugle bl 


CO 


36709 N 


BENNY GOODMAN 






ST LOUIS SHUFFLE/VARIETY STOMP 


BB 


10246 N 


ROYAL GARDEN Bl/hOW LONG 


CO 


367i 0 E 


BL YOUR flat/my FLAT 


HMV 8P72 N 


TALK OF TOWN/NAGASAKI 


DE 


|8253n/e 


FEATHER MERCHANT/a INT IT TRUTH 


CO 


36845 E 


FARWELL BL/MARGIE 


BB 


10973 E+- 


NIGHT LIFE/lVE GOT TO SING 


DE 


|6254n/e 


TAPS M ILLER/jIMVY BL 


CO 


30C3I E+ 


COKEY/MUSIC HALL RAG 


CO 


30 1 1 ^+ 


HORACE HENDERSON 






woplc mao/a-2 


OK 


5316 E+ 


LETS DANCE/BOY MEETS HORN 


CO 


35301 E 


KITTY UK TOAST/OH BOY 


VO 


5433 E+ 


upcaoway/ji tters 


OK 


6095 E 


HONEYSUCKLE ROSE/SPRING SONG 


CO 


353 1 9 E 


OLD MAM RIVER/HAPPY FEET 


DE 


|8| 72e/n 


FEED IN THE BEAN/l DC MEAN U 


OK 


6|80 E-l- 


oomph pha pha/slipped DISC 


CO 


368|7e/n 


MINNIE MOOCHEp/lM CRAZY RHYTHM 


DE 


|8|7| N 


FIESTA IN 8L/TAKE ME BACK 


OK 


6440 E 


NEW KIMDA LOVE/CLOSE PAGES 


CO 


36787' N 


SPIKE HUGHES 






1 OCL JUMp/mI NME MOOCHER 


OK 


6634 E+ 


superman/more u KNOW 


CO 


55002 N 


araeesque/nocturne 


DE 


181 70 N 


DESTINATION. KC/6 CATS AND PRINCE 


KN 


1303 E 


king porter/sometimes im happy 


VI 


25090 N 


J.C. HIGOINBOTHAM 






BUNNY BERIGAN 






BASIN ST EL/WHEN BUDDHA SMILES 


V 1 


25258 N 


DUTCH TREAT/PENNY FOR BL 


HRC 


1 0 1 3 F 


U CANT RUN/CAUSE MY BABY 


VI 


25562 E 


FEEL 1 N HIGH./LET SONG 


V 1 


25840 E 


h 1 GGYS Bl/goLD DIGGERS BL 


CO 


3601 1 N 


LADE FROM FIFTH AVE./aLL GODS 


V 1 


25609 E 


BL ROOM/MAKE BELIEVE 


VI 


26088 N 


JIMMY JONES 






frank ie johnny/mother goose(rc) 


VI 


256i6v/e 


never knew/sweet SUE 


VI 


26089e/n 


MUDDY MISS/OLD JUICE ON LOOSE 


HRS 


ICKM N 


EBB TIDE/GREAT MEET FRIEND 


VI 


25664 E 


ANGELS SING/SENT FOR U YESTERDAY 


V 1 


26170 E 


JONAH JONES 






SWEET VARSITY SUE/wHY TALK LOVE 


V 1 


25667 E 


SING SING SING 


VI 


36205 E+ 


JUST LIKE BUTTERFLY/LUST FOR LICKSKN 


6|4 E 


HI HO/PIANO TUNER 


VI 


25776 E 


FOUNF NEW BABy/sW 1 NGT IME ROCKIES 


VI 


25355 E+ 


J. P. JOHNSON 






• AC KY DU6T/»EARIN of green 


VI 


25872e/n 


CHRIS columbus/get HAPPY 


VI 


25279 E+ 


VICTORY STRIDE/BL Ml ZZ 


BN 


32 E 


FATHER DEAR FATHEr/lET THIS BE *A 


V 1 


26061 E 


BODY SOUL/AFTER U GONE 


VI 


25 1 1 5 E+ 


JOYMEMT 1 N/AFTER U GONE 


BN 


33 E 


CANDLE LIGHT/lN DARK 


V 1 


261 22 N 


DINAH/MOON GLOW 


V 1 


2539e E+ 


ILLINOIS JACQUET 






LITTLE GATE SPECIAL/GAN BUSTERS 


VI 


26338 E 


EXACTI Y LIKE U/LOVE ME LEAVE ME 


VI 


254C6 E* 


BOTTOMS UP/GHOST CHANCE 


AP 


756 E 


STUDY in brown/caravan 


VI 


25653 E+ 


SWEET SUE/MELANCHOLY BABY 


VI 


25473 E 


HARRY JAMES 






FRANK 1 E JOHNNY/CANT GET STARTED 


V 1 


20I500E 


STOMPIN SAVOy/viBRAPHONE BL 


VI 


25521 e/n 


woo woo/boo woo 


CO 


35958 E 


JELLY POLL BL/blACK BOTTOM 


VI 


20I502E+ 


CAMEL HOp/LOCH LCMOND 


VI 


2571 7 v+ 


JAZZ AT PHILH ARMONIC 






HIGH SOCIETY/DEED 1 DO 


VI 


201 503 E 


ONE OCL JUMP/DONT BE THAT WAY 


VI 


25792 E 


HOW HIGH MOON 1-2 


AS 


453 E+- 


PRISONERS SONG/CANT GET STARTED 


VI 


36208 E 


SWEET LOPFA INE/D 1 ZZY SPELLS 


VI 


25822 N 


3/LADY BE GOOD | 


AS 


453 E 


■ILL BRADLEY 






BUMBLE BEE ST/c 1 H i B 1 R 1 E 1 N 


VI 


26087 E 


LADY BE GOOD 3-4 


AS 


453 F 


LONG AS LIVE/IN SPANISH TOWN 


CO 


35566 E 


swonderful/must HAVE THAT MAN 


VI 


26090 N 


ANDY K IRK 






LOVE NEST/'cOMIN VA 


CO 


35345 F. 


OPUS -i/sWEET GA BROWN 


V 1 


26091 n/e 


ILL BE HAPPy/dUMKIN DOUGHNUT 


DE 


2723 N 


SOUTHPAW SERENADE/BOUNCE ME BR 


CO 


35963 E 


FLYIM HOME/ROSE ROOM 


CO 


35354 E 


FINE MELL0w/l5 MIN INTERMISSION 


DE 


3282 E 


LITTLE ICKEY/BREAK IT TO ME 


CO 


35922 E 


SOFT WINDS /MEMORIES OF U 


CO 


35320 E 


LITTLE JOE/OVERHAND 


DE 


3385 E 


CELERY STALKS/DOWN RO PIECE 


CO 


35707r/n 


ON ALAMO/GONE WITH DRAFT 


CO 


35938 N 


BIG TIME CHIRP/47 ST JIVE 


DE 


4042 E 


Scramble 2/rock by boogie 


CO 


35732 E+ 


AIR MAIL SPECIAL/TUES TEN 


CO 


36254 N 


WORRIED LIFE/BOOGIE WOOGIE COCK 


DE 


438IE/V 


ch icago rhythm kings 






im here/caprice PAGANINI 


CO 


364| 1 E+ 


COUNT /l 2 ST RAG 


DE 


1.8123 E+ 


ISNT ANY LIMIT/SHE SHALL HAVE MU 


BB 


6400 N 


AFTER U GONE/DARK STRUTTERS 


CO 


36699 N 


J IHIMY LUNCEFORD 






BENNY CARTER 






POOR butterfly/grand SLAM 


CO 


36722 E+ 


TIME;, WASTIm/wELL ALL RIGHT 


VO 


4887 E+- 


TA- IN MY TIME/COCKTAILS 2 


BB 


10998 E 


WANG WANG WANG/LONG AS LIVE 


CO 


36723 N 


LUNCEFORD SPEC/WHAM 


VO 


5326 N 


BL 1 NTERLUOE/ONCE UPON TIME 


DE 


18255 N 


earl/lets DO IT 


OK 


6474 e+ 


PUT IT AWAY/UPTOWN BL 


VO 


5362 N 


SUNNY DUNHAM 






LIMEHOUSE BL/lF 1 HAD U 


OK 


6486 E+ 


BL IN GROOVE/AWFUL MOOD 


VO 


5395V/E 


MEMORIES OF u/AS WE WALK 


BB 


1 1 2«.Q N 


CLARINET ALA KING/HOW LONG 


OK 


6544 E 


TIME TO JUMP /PRETTY EYES 


VO 


5430V /e 


TOMMY DORSEY 






STRING PEARLS/JERSEY BOUNCE 


OK 


6590 E 


chocolate/battle AX 


DE 


3807 E 


yes ioeed/will u STILL 


VI 


27421 E 


CHINA SOY/LADY BE GOOD 


V 1 


25333 N 


HIGH SPPOOk/yARDB 1 RD MAZURKA 


DE 


4032 E 


WELL GET It/S"MEWHERE VOICE 


V 1 


27887 E 


BUGLE CALL RAg/aFTER U GONE 


VI 


25467 E 


BL IN NIGHT 1-2 


DE 


4|25 E 


SERENADE TO SPOt/aNOTHER ONE 


V 1 


27374 E+ 


TIGER RAG/wi SPERI NG 


VI 


2540 ie/n 


BACK DOOR STUFF 1-2 


DE 


18594 E 


COCKTAILS FOR 2/OLD BLACK JOE 


VI 


26145 E 


RUNNIN WILD/TEA FOR 2 


V 1 


25529n/e 


WHITE heat/jazznocracy 


88 


57i3v/e 


WE A c Y 8L/B00GIE WOOGIE 


VI 


26054 E+ 


ROLLEm/aFRA ID TO DREAM 


VI 


25627 E 


GLENN MILLER 






l iebestraum/mendolsons SPRING SONG 


VI 


25539 E 


AVALDN/MAN 1 LOVE 


V 1 


25644E/N 


PAVANNe/lI TTtJE BROWN JUG 


BB 


|0286e/v 


SWEET SUE/TIN ROOF BL 


VI 


25l05v/t 


TIL TOM SPECIAL/GONE DRAFT 


CO 


35404E/V 


SLIPHORN JIVE/GUESS ILL GO BACK 


BB 


1 03 1 7f./n 


THANKS FOR EVERYTH 1 KG/DO U REMEMBERVI 


26 1 1 9 E+ 


SHEIK/POOR BUTTERFLY 


CO 


35466 E 


in mood/want TO BE HAPPY 


BB 


|04|6 V 


SWING HI &H/SWI NGT IME HARLFM 


VI 


27249 E 


WHOLLY CATS/ROYAL GARCEN BL 


CO 


35810 E+ 


JOHNSON RAG/WRITTEN IN STARS 


BB 


|C498e/n 


BEALE ST IIl/sTOP LOOK LISTEN 


VI 


36207 E 


BREAKFAST FEUD/FOUND NEW BABY 


CO 


36039 E 


TUXEDO JUNCT ION/DANNY BOY 


BB 


10612 E 


GEORGIA WASHBOARD STOMPERS 






SCARECROW/TIME ON HANDS 


CO 


36|80e/n 


ANVIL CHORUS 1-2 


BB 


10982 E 


TIGER RAG/FA RWELL dl 


DE 


7003 V 


BEI MIR BIS DU SCHON 1-2 


DUB N 


spirit willing/air MINDED 


BB 


1 1 1 35 N 


EVERY6 DY L VES i)ABy/h|GH 60C 1 ETY 


DE 


7002 N 


PICKARIB 1-2 


DUB N 


LONG TALL MAMA/CONCH 1 TA 


VI 


27943 E-l- 



38 



AUCTION 

JOHN D. REID 

6032 BELMONT AVENUE , 
PLEASE USE NUMBERS. NO COD SHIPMENTS EXCEPT TO KNOWN CUSTOMERS 
PACKING CHARGE ON ORDERS UNDER t 5.00. 



AUCTION 



CINCINNAT I 24, OHIO 
WINNERS l.'CT I F I ED AND RECORDS SHIPPED ON RECEIPT OF REMITTANCE. 



25# 



RED ALLEN 

1. BELIEVE IT BELOVED/lTS WRITTEN' PE |607| G 

RETi AND MIFFS STOMPERS 

2. deli rium/davenport vi 20778 v+ 

ALL STAR ORCH 

3. PA I NBOW round/she di DNT 

4. steppin along/too wonderful 

ALABAMA WASHBOARD STOMPERS 



V I 2 1667 E 

VI 22 1 04 V 



5. ALL THE WORLD/IF U DONT VO |689 G 

6. V0UR LUCKY/l WANT LITTLE GIRL VO |586 G 

BALT I MORE BELLHOPS 

7. CCMIN goin/hot ANXIOUS CO 2449 G+ 

BLUE GRASS FOOTWARf.ERS 

8. HOW COULD l/sENORITA HA 206 G 
9. OLD FOLKS SHUFF/CHARLFSTON BOU HA 248 G 

RUBE BLOOM BAYOU BOYS 

lO.ST JAMES INF/THE MAN CO 2 1 03 E 

I I .MYSTER IOUS MOSE/BESSIE COULDNT CO 2 1 86 E 

I2.0N REVIVAL OAY/WAH WAH GAL CO 22 I 8 E 

BROADWAY MELODY MAKERS 

13. SWEET LOVIN MAMA/RURNIN SAND PU 11200 V 

CLEO BROWN 

14. U CANT FIDDLE AROUND HHSL035I E 

BUGLE CALL R AGGERS 

|5. TEMPTATION RAg/nEW JIG RHYTHM CH 40063 V+ 

BUSSES BUZZARDS 
1 6.M I LENBERG JOYS/REU HOT HENRY V| I 9728 V 

CALIFORNIA RAMBLERS 
I 7. SISTER KATE/LONESOME MAMA VO |4436 E 

JOHNNY CALI & TONY GATTUSO 
|8. STUDY BROWN/SATAN TAKES ( GU I TARS )v 1 25662 E 

CLAUDE CASEY & PINE STATE PLAYBOYS 

1 5. PINE STATE HONKY TONk/alL I DO BB 7883 E+ 

HOAGY CARMICHAEL 

20. s tapoust/cosm i cs (piano solo) VI 24484 E 

CELESTINS TUXEDO JAZZ ORCH 

21. TA ta/sweetheart TKO ' CO 14396 E 

CHICASAW SYNCOPATORS 

22. MEMPHIS RAG/CHICKASAW STOMP CO r 430 1 E 

CHICAC BLUES DANCE ORCH 

23. HOUSE DAVID/BL GRASS BL- CO 3923 E+ 

CHARLESTON CHASERS 

24. LOVABLE AND SWEEt/rED HAIR CO I 925 V 
25. SING U SI NNERS/ci NDERELLA BROWN CO 2 1 33 V 

COLUMBIA PHOTO PLAYERS 
26. IM IN MARKET/MY FUTURE CO 2|87 E 

CONNIES INN ORCH 



27. MOAN U MOA'IFPS/ROLL ON 

COON SANDERS ORCH 

28. DEEP HENDERSON 

COTTON CLUB ORCH 



VI 22698 E 
VI 20081 >' 
CO 287 F 



29. DOWN AND OUT Bl/snAGEM 

BING AND ANDREWS SISTERS 

30. ACCENTUATE THE POS I Tl VE/THERES DE 23379 V 
3l • THREE CABALLEROS/OONT FENCE ME DE 23364 V 

BING CROSBY 

32. sleigh ride july/like someone de 18640 G+ 

PUTNEY DANDRIDGE ORCH 

33. HIGH HAT/SKELETON IN CLOSET VO 3352 V 

JAMES DEBERRY AND MEMPHIS PLAYBOYS 

34. I NSANE JEALOUS Bl/zuQITY VO 5247 N 

D IX IE DAISEYS 

35. LOT OF BLUE CA 9204 v+ 

DIX IE JAZZ BAND 

36. M0ANIN LOW/YOURE GONNA OR 1 663 G 

DIXIE STOMPERS 

37. CLAP HANDS/SPAN I SH SHAWL 

38. JACASS Bl/tamPEEKOE 

39. al ab ama stomp 

40. snag it/aint she sweet 
4| ,st louis shuff/have it ready 
42. oh baby/feel in good 

TOMMY DORSEY ORCH 

43.0 ID I remember/mary had vi 2534i v+ 

44. KEEP I N OUT/FROST ON MOON V| 25482 V+- 

45. THEY ALL LAUQHED/bEG I NNERS LUCK VI 25544 V 

46. goodbye/you AND I VI 25648 E 



HA 


70 


G 


HA 


166 


F 


HA 


283 


F 


HA 


353 


F + 


HA 


467 


F+- 


HA 


636 


F+ 



JONNY DUNN (CORNET SLO) 

47. DUNKS CORNET Bl/nevER HEARD CO I 24 V 

SEGER ELLIS 

48. DONT KEEP ME/l CANT GIVE OK 4 1 077 V 

FISKE UNIVERSITY MALE QUARTET 
49. SWING LOW/SHOUT ALL OVER CO 1 883 V+ 

FIVE BIRMINGHAM BABIES 

50. LOVE ME DADDY Bl/|M GR I EV I N PE 14455 G+- 

5I.IN01G0 BL PE 14530 G+- 

ELLA F I TGERALD 

52.1 WANT WA I TER/THATS ALL DE 2628 V 

RED NICHOLS F IVE PENNIES 

53. SWEET rosi ta/peanut VENDOR BR 6035 V 

RAY MILLER ORCH 

54. finesse/funny DEAR BR 4675 V+- 

55. SOMEBODY LOVES ME/LONELY BR 2669 V+ 

56. WEARY Bl/| AINT GOT BR 3677 V+ 

NEW MUSIC REGINALD FORSYTHE 

57. GARDEN WEED/DUKE INSISTS CO 3000 E 

BUD FREEMAN 

58. PRINCE WAILS/jAZZ BAND BALL CO 35853 E 

FRIVOLITY CLUB ORCH 

59. ADORABLE/LONESOME AND SORRY VO I 53 I 6 E 

EARL FULLERS FAMOUS JAZZ BAND 

60. L 11TLE LIZA JANE/COON BAND CONTESTV I I R394V 

JACK GARDNERS ORCH 

61. who you/whod a thunk it ok 40339 G 

GEORGIA STRUTTERS 
62.0RIG BLACK BOTTOm/wASNT IT HA 3 1 1 V 

63. GEORGIA MELODY SYNCOPATORS 

TENT ^N TENNESSEE DANO i 515'' V 

ARTHUR GIBBS GANG 

64. LOUISVILLE LOu/BEALE ST MAMA VI 19070 V 

BENNY GOODMAN 

65. HE AINT got rhythm/this YRS VI 25505 v+ 

HANDYS ORCH OF MEMPHIS 

66. FUZZY WUZZY RAG/SNAKEY BL 

BILLY HICKS SIZZLING SIX 

67. joe the bomber/fadeout 

68. JOHNNY HODGES ORCH 

JEEP JUMPI N/PRELUDE 

CLAUDE HOPKINS ORCH 



CO 242 1 v 



VA 



601 E 



vo 4386 E 
BR 6916 V 



CO 


2448 


E 


VO 


14334 


V+ 


VI 


38019 


V 



69. MARGI E/EVERYBODY SHUFF 

J IMMY JOHNSON ORCH 

70. C RAZY SONG/GO HARLEM 
7| .MOURNFUL THOUGHTS/CHI BL 

72. U DONT UNDERSTAND /u GOT 

JOHNSONS JAZZERS 

73. CAN I GET IT/SKIDDLE 

PEGGY JOHNSON ORCH 

74. MISS otis/frankie johnny 
75. if u cant get 5/she jumped 

TAFT JORDAN AND MOB 

76. M00N TURNS GREEn/(w|LL OSBORNe)cO 8476 G 

HAL KEMP 

77. HEART STONE/GOT DATE 

MANNY KLEIN ORCH 

78. juba/hot spell 

GENE KRUPA SWING BAND 



CO 14274 E 



VI 24691 E 

BB 6097 E 



7958 v+ 



BR 7606 E 



VI 25263 E 



MUTINY IN PARLOR/GONNA CLAP 

LAZY LEVEE LOUNGERS 
80. SHOUT SISTER/IF I COULD BE CO 2243 V 

81 . DONALD LINDLEY (TRUMPET SOLO) 

TRUMPET BL/SWEET STUFF CO 564 G 

LITTLE RAMBLERS 

82. HARD HEARTED HA NN A h/tESS I E CO 203 E+- 

83. MY CUTIES DO/AND THEN CO 7| 9 V 

LOUISIANA FIVE 

84. YELP IN HOUND BL/jUST ANOTHER CO 2742 V+- 

LOU I SI ANA RHYTHM K INGS 

85. CARAVAN/0ER BILLOWY SEA BR 4908 V+ 

LOU ISV ILLE RHYTHM K INGS 

86. LETS oIT/|N GREAT BIG WAY OK 4| 1 69 E 

LUMBERJACKS 

87. BL LITTLE U CA 904' CH 

WINGY MA NONE ORCH 

88. UP THE C UNTRY/SHAKE THAT THINGCH 40054E/V 



JERRY MASON CALIFORNIANS 

89. DONT HOLD EVERYTHING 

MASON DIXON ORCH 

90. A L A B AM Y SNOW/WHAT A DAY 

MIDWAY DANCE ORCH 



DI 2795 G 
1 86 1 E 



CO 



CO 



33 E 



BR 41 I 2 V + 



9I.L0TS 0 MAMA/BLACK SHEEP BL 

HOTSY TOTSY GANG 
92 • COULDNT IF I WANTED 

GLENN MILLER 
93 .WOOOPECKER SONg/lETS ALL SING BB 10598 V+ 

MISSOURIANS 

94. IVE GOT SOMEONE/VINE ST RAG VI 3S|03 E 
THOMAS MORRIS PAST JAZZ MASTERS 

95. E FLAT BL/ORIG CHARLESTON OK 8055 F 

JELLY ROLL MORTON S EXTET- 

96. GET THE BUCKET/WHY * GL 1 706 E+ 

MOUND C ITY BLUE BLOWERS 

97. LATIN FROM MANHATTAN/WHATS 



DAVE NELSON KINGS MEN 
c <8. I AINT GOT NOBODY/WHEN DAY 

NEW YORK SYNCOPATORS 
99. cobblestones/mary 

NEW SYNCO JAZZ BAND 



VO 2957 V 
vi 22639 E 
Ok 40965 G 
PAT2I075 G 
VI 25459 v+- 



00. HOUSE DAVIS BL/sOMEBODY 

RAY NOBLE ORCH 

0 I • SOMTH I NG IN AIR/WHERE 

OBR I ANTS WASHBOARD BAND 

02. washboard/brand NEW CHARLES PM 12265 F 

03. DRUNK MAN STRUt/rED HOT PM 12246 G+ 

KING OLIVER ORCH 

04. st James inf/when vi 22298 V+ 

05. d i ppermouth/sugar foot( CONN IE )hrsi I /37 N 

OKEH MELODIANS 

06. blue heaven/dixieland OK 40898 G 

OR I G DIX IELAND JAZZ RAND 

07. PALESTEENA/MARGI E VI |87|7 E+- 

D I X I ELAND JAZZ GROUP ( LOWER BASIN ST) 



vi 27542 E 



CO 14207 G 



GE 3 1 48 G 
GE 3230 E 



08. MEMPHIS PL/ST LOUIS BL 

ORIGINAL JAZZ HOUNDS 

09. LUCY LONG/ALL I HAD 

OR I G INDIANA FIVE 

1 0. GOI N OUT IF LIZZIE 
I I .FALL IN ARCHES 

JACK PETTIS PETS 

I 2. SPAN I SH DREAM/DOIT' NEW LOWDOWNVI 2 I 559 E 

1 3. FRESHMAN HOP/BAG 0 BL VI 2 1 793 E 

P IRONS N.O. ORCH 

1 4 .GHOST OF BL/BRIGHT STAR BL CO 99 N 

I KEY ROBINSON WINDY CITY FIVE 

|5. SWING it/skruntch LOW CH 40011 V 

WILLARD ROBINSON ORCH 

16. PEACE OF MIND/HEAD LOW CO I 8 1 S E+ 

1 7. HAFLEM BL/BEALE ST BL CO 1948 E+ 

T IMMY ROSENKRANTZ BARONS 

18. WEE bit o swing/is THIS VI 25876 E 

LUIS' RUSSELL 

1 9. jepsey lightnin/new CALL CO 35690 V 

SAMUELS JAZZ BAND 

20. nothing but/youve got pm 20206 v 

SAVANNAH SYNCOPATORS 

2 I . RAD I 0 RHYTHM/LOW DOWN (hENDEr)bR 6 1 76 N 
22.SOMEDAY/WA WA ( OL I VER ) BR 3373 G 

SEPIA SERENADERS 

23. RED I CULOUS BL/NAMELESS BL BB 5770 E+ 

SEVEN HOT AIR MEN 

24.lowdown/qotta FEELING CO |J50 G 

SHARKEY SHARKS RHYTHM 

25. when u smiling/mr brown VO 3400G/E 

SHREVEPORT SIZZLERS 

26. nervous breakdown/modernistic ok 4|56| e 

SOUTHERN SYNCOPATORS 

27. meanest bl/no one knows sii 2426 G+- 

SWEATMANS OR IG JAZZ BAND 

28. PAINY day bl/jada CO 2707 V 

TRAVELERS 

29. F I NE 0 ANDY/CANT MAKE OK 4|47| E 



39 



SALE 



EDWARD CROWDER 

37|5 CONNECTICUT ST. (PHONE PR 4472) ST LOUIS lO, MO. 

POSTAGE EXTRA. TITLES ON REQUEST. CONDITIONS GUARANTEED ALWAYS. 
SEND FOR MY LIST OF PERSONALITY RECORDS. 



SALE 



TINY PAR J AM 



SUD BUSTERS DREAM 
TINYS STOMP 

DUKE ELL INGTON 

HOP HEAD 

STEVEDORE SERENAOE 

|2 ST RAG (JUNGLE 3AND) 

3UGLE CALL RAG 

SING U SINNERS (hhc) 

VI 22603, 23041 

JAZZ ALA CARTE (BIGARD) 

DRUMMERS DELIGHT (") 



VI 22778 E+3.50 
VI 38050 N 5.50 

CO 953 v+2.50 

BR 8174 v+1.25 

BR 6038 E+2.00 

VI 22938 N-2.50 

HOW 1045 v+1.25 
V 1 .00 

VR 655 N 2.00 

vo 3985 N 2.00 

BB 10981 V, BB I 1 58 1 V (BIGARD) V .75 

SAILBOAT IN MOONLIGHT (hODGEs)vR 586 N 2.00 

GOOD GAL BL (hODGEs) COS 273 E 1.25 

OK 5940 v, vo 5|00 v (hodges) v i.OO 

RUBE BLOOM (PIANO SOLO) 

CO I 195 N, 25060 N N I .50 

SIDNEY BECHET 
VS 8399 N , 3405 N, vi 27663 N DE 2|29 E 1.50 

z 

BESSIE COULDNT HELP IT(hOAGy) VI 22864 E 2.00 
GOLDKETTE VI 20926 N, 20981 N 1.50 
whitEman VI 2|228 N, VI 2|338 N C0I478E 1.25 

LOU IS ARMSTRONG 
DE 1 822 , I9i3, 2538, 3204, 3283, 7229 N 1.25 
DE 623, 666, 797, 580, 9l4, 1049, 1636 E 1.00 
DE 623, 685, 698, 797, 2267 V .75 

W.MILLS BROS OE |245, 1495 E+1.25 

BOOTS AND BUDDIES (NEW I .n<\ EACH) 
BB 6081, 6880, 6862, 7245, 7556, 7596 

BUNNY BERIGAN 
BR 7823, 7874, vo 3253, 3254 N 2.00 

VI 25609, 25667, 25877, 26061, 26086 N 1.50 
VI 25562, 25646, 25820, 25872, E+1.25 
VI 26068, 26138, 26338 E+1.25 

CAB CALLOWAY 

N 2.00 
N I .50 
N I .00 



BR 6105, 7633, 7677, 7748 
ME 12488, 24414, 
OK 6422, 6720 

ROY ELDRIDQ! 
VS 3084, 3|44, 3154 

M ILORED BA I LE Y 
VO 3057, 4224 
vo 3626, 4083 

3ILLIE HOLIDAY 



,5C 



BR 7702, 7729, 7789, 7867, 7926 N 2.50 

BR 7577, 7781, 7844, 7877, 8265 E 2.00 

BR 8336, OK 6270, 6369 E 2.00 

BR 7789, 7903, 79|7, 8053 v 1.50 

vo 3947, 4631, 458 1, V I L50 

LIONEL HAMPTON (PRIG LABELS) 

VI 25658, 25674, 25682, 26039, 26233 N 1.25 

vi 26423, 26453, 26557, 26724, 263 1 6 N 1.25 

VI 25527, 25575, 26254, 26393, 26447 e 1.00 

EARL HINES 

cavern I sm/posetta sr 654i N 3.00 

SENSATIONAL MOOD BR 6379 N 3.00 

DE 7|4E, 8B 6744E, OK 6250N, BB 11199 1.00 
HARRY JAMES 

BR 83 1 8, 8366 E 1.25 

CO 354565+, BR 3337 v 1.00 
JACX JENNY 

VO 5304 v+, 5494 E+, 5545 E+ 1.25 
EDDIE LANG 

OK 40989 E, 41344 E I .50 

OK 40807, 40825, 40853, 40893, 4|253 V 1.00 
TED LEWIS 

1.50 

N I .00 
1.00 



CO 697 N, 1034 N, 2088 E, 2|8| E 
CO 922, 844, 195, i57 
DEC 2054 n, ME 13379 E, CO |0l7 E 
JELLY ROLL MORTON 

GRF 8741 E+2.50 
GRF 4987 E+2.50 
I .50 
N I .50 



OR JAZZ 

KANSAS CITY STOMP 
HMV 92 1 6 N, HMV 92 1 8 N 

BB 10252, 10253, 10429 

RED MC KENZIE 
DE 302 N, 667 N, CH 40076, vi 38087 v I .00 



FATS WALLER 

THATS HOW I FEEL TODAY (ch) OK 8728 E+3.00 
FATS WALLER STOMP VI 20890 N 3.00 

PLEASE TAKE ME OUT JAIL VI 2 1 202 N 2.00 

VI 2 1 346 N, 2 1 348 N, (lsb) n 2.00 

BYE BYE FLORENCE (B.HOWELL) VI 2 1 062 N 2.00 
TAINT NOBODYS (s.MARTIn) OK 8043 E 2.00 

LAST GO ROUNO (s.MARTIn) OK 8045 V 1.50 

VI 24801, 25027, 25753, 25679 N 2.50 

vi 24648, 24738, 24742 , 24808 , 24846 E 1.50 
24863, 25075, 25348, 25409, 25749 E I .50 
HMV 8496, 8784, 4479 N I .50 

BB 10070, 10892, llOlO, 11078, 11262 N 1.25 
11296, 11469, BBC 10346, 11222, 11262 N 1.25 
BBC 11383, 11539, BB 10070, 10098, I0070EI .25 
VI 25281, BB 10730, 10829, 10989,11 1 88v 1 .00, 

GLENN MILLER 
SILHOUETTED MOONLIGHT BR 8034 N 4.00 

BB 1 03 1 7, 10638,10796, I 1 401 , I 1443 N 1 .00 

MC KINNEYS COTTON PICKERS 
VI 2| 730, BB 7695 N I .50 

BB 10232,10249,10706 N 1.25 

LOU IS PR IMA 

BR 7320, 7394, 7456, 747i, 7499, 7524 n 1.50 
BR 7531, 7586, 7596, 7657, 7709, 7740 N 1.50 
VO 3376, 3388, 3509, 657 n 1.25 

ADRIAN ROLLIN'l 
GET GO IN BR 6786 N 2.00 

NAGSAK1 VI 25035 E+l .50 

DE 1973, PE 15799 E 1.00 

ART SHAW 

BR 7698, 7750, 7778, 7787, 7794 N 1.75 

BR 7835, 7899, 7965, 8050 N 1.75 

BR 777|, 7841, 7971, 7976 E 1.25 

JACK TEAGARDlN 
BR 8373, 8401, 8431, N 2.00 

CO 35233, 35245, DE 4071, VS 8202 N 1.00 

JOE SULLIVAN 

ONYX BR INGOOWN CO 2925 N 2.50 

I COVER WATERFRONT VO 5556 N I .50 



WILLIE SMITH (THE LION ) 
DE 1144, 1503, 1366, 2269 E 1.00 

TEDDY WILSON 
BR 7736, 7739, 7884, 7940, 8|50, 8| 99 N 2.00 
BR 7640, 7797, 7943, 7954, 7960 E 1.50 

BP 3| |2, 8|4| , 8455 E I .50 

HAVE SEVERAL COPIES OF ENGLISH ESQUIRE LABEL 
TEN INCH AND 1 2" JIZZZ SESSION BIRMINGHAM. 
ALSO REINHARDT AND GRAPELLY ON SWING. 
SEND FOR MY LIST OF SPIRITUAL BLUES. 

BING CROSBY 

MISS. MUD (TRAM) PAS 2097 N 2.00 

THANKS OK ZJB7D V I .50 

STRAIGHT FROM SHOULDER COC 6062 E+l. 50 

BECAUSE MY BABY DONT MEAN MAYBEC0144I E 2.00 
LONESOME IN MOONLIGHT CO 1448 E 2.00 

IM ON CREST OF WAVE CO |465 E 2.00 

RATHER CRY OVER U CO 1 496 E 2.00 

MY SUPPRESSED DESIRE CO 1629 E 2.00 

COQUETTE CO I 755 E 2.00 

MAKIN WHOOPEE CO |683 N 2.50 

LITTLE PAL CO 1 877 N 2.50 

GRIEVING (whiteman) VI 2|678 N 2.00 

LOVE IN BLOOM COE 1802 N 1.50 

SOMEONE STOLE GABRIELS COE 1 894 N 1.50 

STAY ON RIGHT SIDE COE 1964 N 1.50 

HERE LIES LOVE COE 1990 N 1.50 

TRY LITTLE TENDERNESS COE 1 985 N 1.50 

DAY U AM E ALONG COE 2009 N 1.50 

LAZY DAY COE 2027 N 1.50 

WALTZING IN DREAM— COE 2074 N 1.50 

ST OF DREAMS COE 2085 N 1.50 

LETS PUT OUT LIGHTS COE 2208 N 1.50 

WRAP TROUBLES IN DREAMS BRE 2099 N I .25 

VI 20882, 20883, 2l365, 2l43i n 1.50 

OUffS I DE— AARONSON COm(b|NG ?) VI 2 1 888 N 1.25 
GIVE ME HEART TO SING TO ME 1 3 1 66 N 3.00 

HAVE BING ON INDIAN CO. DIFFERENT MASTERS, 



% I .25 EACH ALL NEW EXCEPT WHERE STATED 

EDDIE DUCHIN 
VI 25030, 25043, 25583, 25390, 25395, 25433 
25520, BR 8106, 8219, 8264, 8287, CO 35702, 
35255, 35735 

TOMMY DORSEY 
VI 25145, 25214, 252 1 7, 25482, 25544, 25591, 
25596, 25692, 25763, 26786. 
ALSO HAVE .COMPLETE T. DORSEY COLLECTION. 
E-N WHICH I AM BREAKING UP. SEND WANTS. 

RUTH ETTING 

CO 1052, 1075, 1113, 1208, 1420, 1883, 1998, 

HUDSON DELANGE ORCH 
BR 76 1 8, 7700, 7708, 77 1 5, 7727, 7743, 7785, 
7795, 7828, 8007, 8016, 8023, 8040, 8049, 8071, 
8077, 8081, 8091, 8|56, 8l47, 8222, 7656 E. 

JAN GARBER 

BR 7947, 8033, 8|34, 82|7, 8266, VI 25|80 
HAL KEMP 

BR 3863, 4i5l, 46l2, 4958, VI 25624, 25628, 
25685, 25732, 25893, 26255, 26336, 26385 

GUY L0M8AR00 
VI 25205, 25244, 25545, 25578, 25599, CO 1093 
1364, 1395, 2237, 2379, 2390, ME 1 3 1 74, 1 3 1 76 

RUSS MORGAN 
BR 7758, 7955, 7032, 7059, 7084, DE 2736 

LEW WHITE 
BR 3488, 3618, 3956, 44|7, 4475 

8 1.00 EACH, NEW EXCEPT WHERE STATED 

PIPE ORGAN SOlQS 

MILTON CHARLES 



CO 1056, 1065, 1079, 1099, 1425, 1730 

QUENT IN M. MAC LEAN 
CO 1356, 1899, 2251 
EM IL VELA6C0 CO |259, 1565 
EDOUARD COMMETTE CO 2|53 
TERENCE CASEY CO 225l 
HAROLD L. RIEDER CO 894 
MARSH MC CURDY CO 1 305 

BEN BERN IE 
BR 6008, vo 3338, VO 4943 

DON BEST OR 

BR 6986 , 7365 , 7366, VI 2 1 562 , 24 1 47, 24432 
BB 7339, 7240 

CHICK BULLOCK 
ME 60210 , 60610, 7 n0l, 7||03, 13389, V05342 

BUDDY CLARK 
BR 7535, 7590, 7664, 7788, 77|2 

BOB CHESTER 
BB 10566, 10576, 1 06 1 4 , 10686, 10699, 10690 

JOLLY COBURN 
VI 24842 , 24845, BB 7038, 704 1, 6081, 7|00 

SHEP FIELDS 

BB 7180, 7305, 7|80, 7353, 7566, 10577, 10589 

SEGER ELLIS 
OK 40974, 4||90, CO 1290, |57| 

JEAN GOLDKETTE 
vi 20256, 2 1 150, 2 1 800, 2|804, 2|805, 2|565 
21889, 22077, 22 1 23 

GEORGE HALL 
VO 3944, 4085, 4407, 4536, 5|42 

ROGER WOLFE KAHN 
vi 21368, 2|675, 2|897 

WAYNE KING 

VI 22236, 22256, 22648, 2401 8, 26749, 26785 
27201, 27206, 27348, 27270, 27511 

SAMMY KAYE 
VO 4084 , 3886 , 3746 , 3656, 36 1 8 

HELEN KANE 

V| 21684, 2 1 830, 2 1 91 7, 22080, 22397, 22407 

JAMES MELTON 
VI 22335, CO 2lOO, 1532, 1206, BR 7396, 15224 

RUDY VALLEE 

VI 22090, 22084, 22 1 1 8, 22|36, 22196 , 22261, 
22284, 22361, 22435, 22574, 22585, 22611, 22615 

PAUL WHITEMAN 
VI 20505, 205|4, 20684, 20784, 20881, 20885, 
20972, 2l73l, 2l3e8, 2|325. 



40 



AUCTION AUCTION 
FRED MANGELSDORFF 




AUCTION AUCTION 
RAY AVERY'S RECORD ROUNDUP 




AUCTION AUCTION 
KEN KRAMER 




959 N. I4TH ST. 








1630 LA CIENEGA, LOS AiyGEEES, 




5 CHARLES ST., N.Y. 


14, 


N.Y. 




MILSAUKEF 3, WISCONSIN 






CALIFORNIA 






CLOSING DATE FEB. 20. SHIPMENT 


RRX 


COD. 


















254 PACKING CHARGE ON ORDERS UNDER 


1 5. 




BING CROSBY 








MILDRED BAILEY WITH WH 1 TEMAN 




BOB CROSBY 








LITTLE THINGS IN LIFE/WRAP 


BB 


V|02 V 




SCANOALS MEDLEY (33 RPm) 


VI 16001 




BIG NOISE W T ETKA/SUNSET SEA 


DE 


361 1 


E 


LOUIS ARMSTRONG 








MILDRED BAILEY WITH NORVO 






PLL OVER NOw/ADIOS AMERICANO (rmCh) 


DE 


3|04 


G 


OL MAN MOSe/faLLING IN LOVE WITH 


DE 


622v/e 




A SERENADE/MORE than EVER 


BR 8085 


F 


DONT CALL BE BOy/bOUND TO LOOK 


DE 


3421 


V 


SIDNEY BECHET (SI5SLE) 








WEEK END PVT SCTy/pLEASE BE KIND 


BR 8088 


'A 


nevr cry over u/makes no never mind 


DE 


4402 g/e 


VIPER mad/sweet PATOOTIE 


DE 


7429 V 




HOW CAN 1 THANK u/wiGWAMMIN 


BR 8194 


E 


-*ANAMa/wOLVERI NE BL 


DE 


3340 


E 


RED MC KENZIE 








BUNNY BERIGAN 






L IONEL HAMPTON 








MONDAY MANHATTAN/EVERY NOW THEN 


OE 


537 E+ 




RHYTHM SAVED/l CANT GET STARTED 


BR 7949E/V 


MEMORIES OF u/jUMPIN JIVE 


VI 


26304 


E 


DAVID NELSON 








U CANT RUN/CAUSE BABY SAYS 


VI 25562 


V+ 


JACK BELLBOY/CENTRAL AVE BREAK 


VI 


26652 


E 


SOME THESE DAI'S/I A 1 NT GOT NOBO-TY 


BB 


5029 V 




SWEET VARSITY SUE/wHY TALK LOVE 


VI 25667 


E 


FOUND NEW BABY/4— 5- TIMES 


VI 


26447 


E 


ALL STAR ORCH 








OLD STRAW HAT/LOELIGHT 


vi 258|6 


E 


BUNNY BERIGAN 








WAITING END ROAD/(tROUBADORs) 


V 1 


226"73V/E 




DANCE ALONE/RINKA DINKA MAN 


vi 25B20 


l - 


•AS A TREE/GIRL GREEN HAT 


vo 


15875 


E 


STEPPIN ALONG/TOO W9NDERFUL FOR 


VI 


22104 v+ 




moonshine/over kentucky/i got a 


jUY V 1 25833 


E+ 


JAZZ ME BL/CHANGES MADE 


VI 


26244 


E 


AL BOWLLY 








TON 1 TE WILL LIVe/aND SO FORTH 


vi 25877 


E+ 


OOJB 








SWEET AS 30NG/HALF MOON IS! HUDSON 


BB 


73 17 E 




BUTTON/ROCKIN ROLLERS JUBILEE 


VI 26077 


i 


-IOME AGAIN/CRAZY BL 


VI 


18729 


V 


SWEET ST RANGER/l CAN DREAM 


BB 


7332 V 




JAZZ ME BL/CHANGES 


vi 26244 


l 


^argie/palesteena 


VI 


1 671 7 


V 


WISCONSIN ROOF ORCH 








GANGBUSTERS/LI TTLE GATE SPECIAL 


vi 26338 


E 


CLAR MARM/MOURNIN BL 


VI 


1 051 3 


V 


WHISPERING/FOREVER MORE 


BWY 


1 1 7BE/V 




DON BYAS 






DINAH SHORE 








MISS. MUD/s 1 NGAPORE SORROW 


BWY 


1141 v+ 




CEMENT MIXER/LAURA 


BL ST 27 


N 


oinahs bl/runnin wild (laval) 


VIC27303 


E 


BLACK MAR 1 A/DEEP RIVER 3L 


BWY 


1 1 23 G 




RED CROSs/wALKIN AROUND 


BL ST 28 


N 


SOMEBODY NOBODY LOVEs/l F ITS U 


BB 


1 1 301 


G 


u the one/u ONLY WANT ME WHEN 


BWY 


1 06 1 E 




EMEL 10 CACERES TRIO 






1 DO DO u/l HEAR RWAPSODY 


BB 


1 1003 


G 


DREAM TRAIN/THATS WHY IM CRY IN 


BWY 


1249 E 




1 GOT HYTHm/hUMORESQU t IN SWING 


VI 25710 


E 


1>ES DARLING DAUGHTEr/aRGENT INE WAY 


BB 


10920 


E 


SHANGHAI HONEYMOON 


BWY 


1097 V+ 




WHOS SORRY NOW/WHATS THE USE 


VI 25719 


1 


WHERE ARE U/MOCKING BIRD LAMENT 


BB 


1 1 164 


G 


THERE EVRYTHING SWEET ABOUT U 


BWY 


1063 v+ 




CALI & GATTUSO (GUITAR DUET ) 




ETHEL WATERS 








THERES SOMETHING ABOUT ROSE 


BWY 


1 1 55 v+ 




STUDY IN BROWN/SATAN TAKES HOLIDAY VI 25662 


I 


/ 1 DN 1 GHT BL/MEMPHIS MAN 


BS 


|4|45 


G 


WHOS THAT KNOCKIN/MORNING GLORIES 


BWY 


1 1 19 v 




BE' NY CARTER 






HANDY MAN/GUESS WHO IN TOWN 


CO 


14353 


G 


PAUL WH 1 TEMAN 








savoy stampede/scandal a flat 


vo 5 1 I 2 


m- 


3IRT IN FACE/REFR 1 GERAT 1 N PAPA 


CO 


|4|32 


P 


AFTER U GONe/kISS YOUR HAND 


DE 


2467 v+ 




WHATLL IT BE/OUT MY WAY 


sw 226 


H 


SHAKE HAT THING/NO MANS MAMA 


CO 


|4| |6 


E 


N.Y, SYNCOPATORS 








KING COLE 






ARTIE SHAW 








DREAM TRA IN/CARESSI NG U 


OK 


4i202e/v 




BLACK SPIDER/RIVER ST MARIE 


AMM"R 1 09 


E+ 


WINTER COMES/POUREO HEART 


BB 


10307 


E 


BEVERLY HILLBILLIES 








BILLY COTTON BAND 






BOYD SENTER (LANG) 








MY PRETTY QUADROON/WHEN ITS HARVESTER 


44i e/v 




TATTOOED LCD' 1-2 


OK 4|578 


E 


CH ISTINE/SOMEDAY SWEETHEART 


OK 


40819 


P 


DAVE BERN IE ORCH 








TOMMY DORSEY 






DICK ROBERTSON 








1 WANT TO MEANDER/WHERE THE BAOBLI 


CO 


1874 E+ 




TIGER RAG/RIGHT HERE (TPT SOLOS) 


OK 4| I 78 


E 


BEDDING BELLS/DREAM MOTHER 


BR 


4290 


V 


BOBBY BREEN 








DADDY, CHANGE/u CANT CHEAT 


OK 4 |422 


1 t 


BAILEYS LUCKY SEVEN 








HAPPY AS LARK/SUNNY SIDE 


DE 


I95Q E 




WANTE0/( BUNNY ) 


VI 25557 


E 


tomorrow/no wonder (ris ch) 


GE 


4975 


G 


DOLORES BROWN 








SUNNY DUNHAM 






BENNIE KRUEGER 








COLD WINTER PAPA/2C-J99 BL 


BE 


1 10 G+ 




MEMORIES OF u/BL SKIES 


06 8234 


E+ 


GET HOT/WANG WANG 


GE 


4722 


F 


GABRIEL BROWN 








DUKE ELLINGTON 






MISSOURI JAZZ BAND 








BLACK JACK BL/GOIN MY WAY 


GE 


5004 N 




SOPH LADy/mERRY GO ROUND 


COE 591 


E+ 


IM COMIN VA/DEWDEW 


RE 


8352 


E 


CLEO BROWN 








BENNY GOODMAN 






JEAN GOLDKETTE 








YOURE MY FEvER/BREAKIN IN PAIR 


DE 


7|8e/v 




SOL ITUDE(MODERNI STS )/( HARLEM H.S 


. )ger I MP I 7041 E 


eileen/waitll u see 


VI 


1 9327 


V 


WILLIE BRYANT ORCH 








BLUE/SHIRT TAIL STOMP 


BR 3975 


E 


RUBEN REEVES RIVER BOYS 








ALL MY LIFE/RIGHT SOMEBODY 


BB 


6361 E 




1 A 1 NT LAZY/AS LONG AS 1 LIVE 


CO 2923 


E 


uazie/zuddan 


VO 


2723 


E 


BAB8 AND HER BROTHERS 








BUGLE CALL RA<j/nITWIT SERENADE 


CO 2958 


V+ 


PIRONS N.O.ORCH 








DOUBLE T OUBLE/yOURE SO DARN 


DE 


5|8 v+ 




100% FOR u/LIKE A BOLT 


CO 2988 


E 


SUD BUST IN BL/WEST INDIES BL 


CO 


14007 


G 


CLYDE BERNHARDT { LEONARD FEATHER 






IVE HITCHED/LET THAT BE l£ESSON 


VI 25708 


E 


LITTLE RAMBLERS 








BL IN RED/SCANDAL MONGER MAMA 


MU 


348 N 




SHUT EYE/GOOD FOR N0TH1N 


VI 261 59 


E 


ARKANSAS Bl/RAMBLIN BL 


CO 


175 


V 


JOE BUSHKIN 








LEONARD HAYTONS BLUE FOUR 






PAUL HAMILTON 








FADE OUT/LADY BE GOOD 


CMS 


594n/e 




ANYTIME/OLD FASHIONED GIRL 


vo 15750 


V+ 


EASY COME/SO HELP ME 


vo 


2721 


E 


CEELE BURKE 








EARL H INES 






BROADWAY BELLHOPS 








SUMMERT 1 ME GAL/BEND OF RIVER 


vs 


8330n/e 




rosetta/glad rag doll (solos) 


BB 10555 


r + 


NESTING TIME/THATS MY HAPPINESS 


HA 


365 


G 


CLOVER GARDENS ORCH 








BEAU K00 JACK/GOOD LITTLE BAD 


VI 38043 


E- 


DOROTHY DON 1 GAN 








THE ONLY ONLY ONE/lLL SEE U IN 


CO 


269 E 




OH U SWEET THING/BLUE DRAG 


BRF500I86E 


PIANO BOOGIE/EVERY DAY BL 


BB 


8979 


E 


CHICAGO BLUE DANCE ORCH 








THATS A PLENTY/SWEET GA BROWN 


DE 182 


E 


JAZZ BOS CAROLINA SERENADERS 








BL GRASS Bl/hOUSE DAVID BL 


CO 


3923 E 




SPIKE HUGHES 






CHICAGO/WAY DOWN N.O. 


CA 


3|2 


E 


HELEN CLARK 








fanfare/arabesque 


DEE 3639 


N 


LIL ARMSTRONG 








IRISH EYEs/wEE BIT 0 LOVE 


VI 


22026 V+ 




MEZZ MEZZROW (BROADWAY SWINGSTARS) 




HAPPY TODAY/U SHALL REAP 


DE 


1722 


E 


JACK CRAWFORD 








panic is on/mutiny in parlor 


RZ 2440 


N 


JACK TEAGARDEN 








SWA'EE SHORE/WHOS PRETTY BABY 


V 1 


20847 E 




THE MISSOURIANS 






BLUE RIVER/ryHTM HYMN 


DE 


4071 


E 


BOB HOPE & SH IRLEY ROSS 








market st stomp/mi SS0URI MOAN 


VI 38067 


E 


ROY NEWMAN 








2 SLEEPY PEOPLE/NEW THANKS FOR THE 


DE 


2219 V 




SCOTTY BL/400 HOP 


VI 38084 


E 


TIN ROOF/GARBAGE MAN BL 


VO 


2994 


V 


EDGAR HAYES QU 1 NTET 








VINE ST DRAG/lVE GOT SOMEONE 


VI 38103 


E- 


RED NICHOLS STOMPERS 








SWEET HEART/BLUE SKIES 


OE 


1684 v 




PROHIBITION BL/STOPPIN TRAFFIC 


VI 38120 


N 


sugar/make MY COT 


V 1 


21056 


V 


MAX 1 NE SULLIVAN (THORNH ILL) 








COLE PORTER 






LENA WILSON 








LOCH LOMOND/lM COM IN VA 


vo 


3654. V 




THE PHYSICIAN/THE c'oCOTTE 


vi 24859 


E+ 


TAINT NOBODY BUS 1 NESS/TR 1 FL 1 N 


VI 


1 9085v/g 


SHELLY LEE ALLEY ALLEY CATS 








JELLY JAMES FUS IC IANS 






INEZ WALLACE 








IM WONDER 1 N NOW/MAKES LOT OF 


vo 


5106 E 




GEORGIA B0BO/MAKE ME KNOW IT 


GE 6045 


E 


AGGRAVAT 1 N PAPA/RADIO BL 


BS 


14137 


G 


NORFOLK JAZZ QUATET 








JOSEPHINE BAKER 






THOMAS WALLER 








JELLY ROLL BL/SOUTHERN JACK 


OK 


4318 V 




SI JETOIS BLANCHE/SANS AMOUR 


COE 1 1 80 


ri 


r EEL 1 N FALLIN/l VE ME 


VI 


22092 


G 


AMBROSE 








JESS STACY 






WALTERTHOMAS JUMP CATS 








TWILIGHT TURKEY/CARAVAN 


DE 


1 442v/e 




MILENBERG J0Ys/l2 ST RAG 


PD580028 


E 


BL ON BAYOu/jUMPIN JUDY 


GE 


8126 


V 


THREE STAR TRIO 








REX STEWART 






FRANK TRUMBAUER 








RED MISS/ ALWAYS 


GG 


3001 E 




STOMPIN SAVOY/LUCKIEST FOOL 


BL ST 68 


N 


BYE BYE BL/CHCO CHOO 


OK 


41450 


V 


PHIL BAKERS NOVELTY ORCH 








SQUEEZE ME/BEROP BOOGIE 


BL ST 65 


N 










SYNCOPATIN MAMA/LOVE 


CA 


402 G 




MUSKRAT RAMBLE/MADELEI NE 


BL ST 69 


N 










NEW MAYFAIR DANCE ORCH 








JUG Bl/aT BARCLAYS CLUB 


BL ST 64 


N 










GOT DATE WITH ANGEL/FOR LOVE OF 


HMV 


6098 v+ 




BOY MEETS HORN/ DONT GET AROUND 


1L ST 66 


N 











SALE 



SALE 



LEON WOLFF 

755 ttONTROSE, CHICAGO 1 3, ILL. 
NO COO'S. FLAT 50^ CHARGE FOR PACKING AND 
POSTAGE ON WINNING ORDERS UNDER % 5.00. 



.L3ERT AMMONS 
W I LENBERG/eARLY WORN I NG BL 
LOU IS ARMSTRONG 

MONDAY DATE/sJGARFOOT 
SAVOY Bl/hOTTER THAN THAT 

I wonder/jodi E MAN 
WEARY 8l/(sm EDGE Ch) 
MAHOGANY HALL ( SU EDGE Ch) 
A I NT H ISBEHAY I n/exACTLY LIKE U 
MEMORIES OF u/lUCKY 

RUDI BLESH AIR SHOT PI 

CLAR MARK/ROSE »5« 

BOB CROSBY 

TECH tr|UMPh/vm| SPIRIT 
RUSSIAN SAILOR DANCE/vULTEE 
TOMMY DORSEY 

MARIE/SONG INDIA 
OPUS f I 

DUKE ELLINGTON 
UPTOWN downbeat/in a jam 
mooche/mood indigo 
stevedore seren 
azure/caravan 
got |t bad/choc shake 
misty morn/saratoga 
kissing bug/everythino 
sherman shuffle/hayfoot 

BENNY GOODMAi'l 
gone »ith draft/alamo 
hoheysuckle/sprihg song 

lionel hampton 
4-5 times/new baby 
cmnah/singin the sl 

COLEMAN HAWKINS 



DE 975 V 



8609 v I 
9535 v-i 
DE 10652 N- 
0K 8680 E-l 
85 1 9 v I 
3040E/V I 
4|463 V I 



3K 



OK 



DE 3080 N I , 
DE 4392 E I, 

VI 25523 N-l, 
V|20l603 N , 

BRF8I073 n-2, 
VI 24486 N I , 
BR 8 1 74 E-l, 

BR 7997 E 2, 
HMV 9592 N I , 
BB 6565 E I , 
HMV 9465 N I , 
VI 201505 N , 

CO 35938 N-l , 
CO 35319 N I , 



VI 26447 n 
VI 26557 N 



AFTER U GONE/SOME OF 

WOODY HERMAN 
TWIN CITY Bl/lAUGH BOY BL 

EARL HINES 



AUDE 5000 N I .50 

de i eoi n i.oo 



chicago h i gh l i fe 
inspiration/honeysuckle 

ART HOPES 
103 ST 900GI e/ro yal garden 
ST LOUIS BL/ARTS BOOGIE 

JOHNNY HODGES 
pass i on flower/back way 

"■ ILL IE HOLIDAY 



HRS 

vo 



I I N I 

3586 N 2 



STRANGE FRUIT/FINE MELLOW 

HARRY JAMES 

FEET DRAGSIN 3L 

JIMMY LUNCEFORD 



JR lOOl N I 
BW 2 N I 

BB3008I 7 N I 

CMS 526 N I 

CO 35227 N-l 
CO 355 1 0 N 
OK 40932 V I 
OE 18043 N 
BR 4773 E I 



DE 
VO 



1 62 I N-l 
I 185 v+3, 



WHATS YOUR STORy/i GOT IT 

MIFF MOLES MOLERS 
MY GAL SAL/ORIG DIXIELAND 

JIMMY MCPARTLA'ID 
suga r/world wait sunrise 

RED NICHOLS 5 PENNIES 
ROSE WASH. SQUARE/WHO CARES 

JIMMY NOONE 
4-5 T I mes/japansy 
4-5 Times/every EVENING 

RED NORVO 
HONEYSUCKLES ROSE/OLD FASHIONEOCO 

KING PL I VER 
ST I NGAREE Bl/shakE IT BREAK IT BB 10707 N I 

REDHEADS 

NOBODY SWEET/AVALON PE |5668f/gi 

HANGOVER/TAINT COLD . PE 14600 E-l 

BESSIE SM ITH 
jailhouse sl/gbaveyard BL 

JOE SULLIVAN 



3059 N 2.00 
0707 n I .00 



BASS ROMPS AWAy/24 HRS 

TOWN HALL AIR SHOT DUE 

JAZZ ME 8L 1-2 

MARY LOU WILLIAMS 



CO 400! F .50 
SRC 100 N I .00 
N I .00 



THE PEARLS/THE ROCKS 
FOUND NEW BABY/U KNOW 

TEDDY WILSON 
LA DV BE GOOo/nOT FOR ME 



2796 N I 
351 N 



PAE 28|5 N 1.50 



AUCTION SALE 
ROY HIGGINSOM 

BOX 484 CARLSBAD, CALIF. 
ANY DISC FOR SALE 50^ EACH UNLESS HIGHER 
OFFER RECEIVED. MINIMUM ODER $ 2.00. WINNERS 
NOTIFIED. 



JOE GREEN BROTHERS MARIMBA ORCH 
RAIN/wATER UNDER BRIDGE 
MONASTERY BELLS/SWEET HAWAAIN 
DOWN THELANE/BROKEN DREAMS 
SOMEWHERE/ 

EDO IE DUCHIN 

MAY l/sHE REM INDS ME 
CANT REMEMBER/HOLD ME 

JACK HYLTON 
TOM THUV DRUM/CLOSE EYES 
WALTZING DREAM/SHADOW WALTZ 

WAYNE KING ORCH 
GNITE SWEETHEART/SO CLOSE 
SALLY/lF IM DREAMING 
WRAPPED RED ROSE/PUT A 

GUY LOMBARDO 
2 bouquets/drop NICKLE 

BAE7 BIRTHDAY PARTy/ukELE 
STATE HEART/MONOPOLY 
THE SMILE AND SONG/vHISTLE 

SHEP FIELDS 
GONE WITH WINo/sTAR BORN 
SURRENDER DEAR/wN MUSH 
CHAPEL IN HILL/YOURE EVERY 
FEEL IN GONE/wlTH SOMEBODY 
FOOLISH FEELING/WHERE ARE U 
DID I REMEMBER/SI TT I N SAND 
DONT ESCAPE FROM u/hOUSE JACK 

GEORGE OLSON 
SAY YOUNG LADY/tGLEN GRAY) 
Ll TTLE RED HOSE 
ROCK A BYE M00N/(CH NOT IN GR ) 

PAUL WHITEMAN 

PARDON SOUTHERN ACCENT/HERE COME 
LOVER/WHEN SUN BIDS MOON 
DANCE DUTCH DOLLS 
BEACH BOY/NOTHI NELSC. i'O 

precious/moonlight Ganges 

FRANCES LANGFORO 
serenade/last rose SJMMER 

LITTLE LOVE KISs/SMILING 
ECHOS HAWAI|/mAN MANDOLIN 
MOONLIGHT OVER VOLOKA I /EMANUEL 

KATE SMITH 
WH1 TE CLI FFS DOVEr/hOSE ODAY 
SEEMS LIKE OLD TIMEs/*ISH RING 
DANCING TEARS/SHARING 

HOLLYWOOD QUARTET 
GRANDFATHERS CLOCk/bL BELLS(mCOREGOr) 
ROBERT E LEE/OLD GANS MINE 

MISCELLANEOUS 
MARION HARRS— L I TTLE WHITE LIES 
DURBI N— WHEN APRIL SINGS 
GRACE MOORE-C IR I 6 I Rl BIN/ONE NIGHT 
DINAH SHORE-J IM/THRU WITH LCVE 
AL GOODMAN— ROSES PICARDy/tO /> 
LAN I MC INTYRE/LOVER COME BACK 
JIM AND BOB-CH IMEs/TAPS 
PARADISE ISL TRIO-LILAC TIME 
ANJY I ONA-HONOLULU EYES 
HARRY OWENS- UKULELE LADY 
JACK SMITH-I|:30 SAT NIQHT 
H LAMBERT-MY ANGEL./rEADY FOR RIVER 
SEGER ELLIS-TIE STRING AROUND 
EDDIE THOMAS-REMEMBER ME TO MARY 
C. GAYLORD— YOURS MANE 
C.MARVIN-TIP TOE TULIPs/pAINT 
B0E1Y BREEN/siN TELL LIE 
ASTMRE-EASY DANCE WITH 
TOML I N— CURBSTONE CUTIe/pORTER 
J.RICHARDS ORCH-2 HEARTS/WALTZ U S 
J.JOHNSON ORCH-2 CIGARETTES DARK 
CODY BAND— I HOUR WITH u/wE WILL AL 
CAROLINA CLUE-M ALWAYS 
J.ME33NER-M0BILE FLAG STOp/dADDY 
MEYER DAVIS ORCH-YOUNG AND BEAUT I F 
CLYDE MC COY-LITTLE WOMEN 



VO 


28 1 3 


v+ 


DE 


450 


v+ 


BR 


3576 


E 


VI 


22480 


J — 


V 1 


2549 1 


E 


V 1 


24280 


V+ 


BR 


6295 


E 


DE 


481 


V+- 


VI 


22825 


E 


V 1 


22240 


E 






E 


VI 


25787 


C 


CO 


2319 


E 


VI 


2533 1 


E 


VI 


25748 


V 


BR 


701 6 


Et- 


B 


0989 


E4- 


BB 


6640 


E+ 


BB 


7 755 


E 


BB 


6665 


L 


BB 


6476 


E 


BB 


6475 


v+ 


V 1 


24422 


E+ 


VI 


22349 




Jl 


24165. 


J+ 


V I 


24704 


E 


V 1 


24283 


V+- 


VI 


22870 


E 


vi 


24678 


E 


VI 


20l 39 


/+ 


OE 


2l24 


Z-> 


DE 


4020 


V+ 


DE 


2595E/V 


DE 


3047 


rt- 


CO 


36448 


E 


CO 


36950 


N 


VE 


2|70 




r) 


1575 


E + 


MCQ 


1522 


E+ 


BR 


4873 


V 


DE 


341 4 


E 


SI 


593 


N- 


BB 


1 1204 


E 


SI 


507 


N 


DE 


1482 


E 


BB 


5295 


M 


DE 


2502 


V+ 


CO 


35394 


E 


DE 


2314 


E 


VI 


22452 


E 


BR 


3926 


V+ 




6050 


E 


BR 


3931 


v+ 


BR 


6030 


v+ 


V 1 


22l 13 


E 


DE 


793 


E 


DE 


18428 


E+ 


BR 


7377 


E 


VME 


12063 


v 


VI 


2471 G 


C 


VS 


5|02 


E 


OK 


41409 


Ef 


DC 


3816 


S 


LCO 


2854 


E 


CO 


2866 


E-l- 



LOUIS ARMSTRONG 
BUTTER EGG MAn/sUNSET STOMP 
BESSIE BROWN 



PORK CHOP Bl/m ISS. DELTA BL CO 1 4036 E 
DOUBLE CROSSIN DADOy/sa T I SF I EDCO 3974 V+ 

BUTTERBEANS & SUZIE (cliver) 
A-Z Bl/cONSTRUCT I ON GANG (rc) OK 8|63 E- 

CAB CALLOWAY 
ANGEL I Me/mi NN I ES WEDDING DAY 



AUCTION AUCTION 
CONSTANCE CARR 

436 MELBOURNE AVE ., BEVERLY , N.J. 
WINNERS NOTIFIEO. RECORDS SHIPPED COD PP 
UNLESS OTHERWISE INSTRUCTED. RECORDS OF ALL 
TYPES. PLEASE SEND WANT LISTS. 



OK 8423 E 



IDA COX 



BR 6321 E— 

PM 12220 V 
PM 12202 v 
PM 12094 v 



DEATH LETTER Bl/kY MAN BL 
WORRIED ANYHOW Bl/chI MONKEY 
MEAN LOVIN MAn/dOWN RD BL 

DUKE ELLINGTON 
JOLLY WOG/jAZZ CONVULTIONS BR 68|0 E- 
MAORl/THE MOOCHE BR 68|2 E- 

HELEN riUMES 
DO WHAT U DID LAST NIGHT/lF PAOK 8545 V 

LULU JACKSON J' 
BL RIDGE Bl/lOST LOVER BL VO I 242 V 

JAMES P. JOHNSON 
WORRIED LONESOME 8L/wEEPING BLCO 3950 E 
MAGGIE JONES 

CHEAT IN ON ME/MAMMA COME CO 14074 E 

SARA MART IN 
YES SIR THATS BABy/aLABAMY BOUNOOK8262 E 
MICHIGAN WATER/KEEPS ON RA I N I NOK 8060 E 
JOE TURNER BL OK 6058 E 

MONKEY MAN BL/YODEL I N BL( TAYLOR )ok8067 N 

SODARISA M ILLER 

WHOLL DRIVE MY BL AWAy/hOT SPRPM 1223 I V 

JELLY ROLL MORTON 
BLACK BOTTOM STOMp/tHE CHANT VI 2022 1 E+ 
" " BB 10253 E+ 

MA RAINEY 

BAD LUCK Bl/TOSS ALL NIGHT RM |208| V 
BIG FEELING Bl/ma 4 PA PM |27|8 V 

ETHEL RIDLEY 



ALABAMA BOUND 8L/| DONT LET 

BESSIE SMITH 



CO 3965 E 



CO 


3877 


E 


CO 


3844 


E 


00 


14032 


E 


CO 


3942 


E 


CO 


3939 


V+ 


CO 


400 1 e/v 


CO 


3898 


v+ 


CO 


14042 


v+ 


CO 


3936 


r 


CO 


14018 


E 


cc 


1-4197 


V+ 



WORK HOUSE BL/HOISE RENT BL 
SWEET JELY ROLL/lF U DONT 
YODEING BL/LADY LUCK BL 
GRAVEYARD DREAM/jA I LHOUSE 
NOBODY BUSINESS/KEEPS ON RA I 
BYE BYE Bl/»EEPING WILLOW 
MIDNIGHT Bl/blEEDMG HEART 
rfOiMSHINE Bl/bO WEAVEIL 3L 
UUDDY WATER/AFTER U GONE 
BABY WONT U PLEASE COME HOMe/oh DADD388E— 
SALT WATER BI./ra|NY WEATHER CO 14037 E 
SORROWFUL BL/ROCKIN CHAIR CO 14020 E- 

1CELL0W DOG Bl/sOFT PEDAL CO 14075 V-h 

MAMIE SMiTH 
-AABAMA BL/MAMIE SMITH BL 



30NT CARE BL/LOVIN SAM 
RIGHT HERE FOR u/CRAZY BL 

ONESOME MAMA Bl/n.O. 
ROAD ROCKY/FARE THEE HONEY 
SAXOPHONY EL/DADDY 
STOP REST AWHIl-E/wEEPIN 
THING CALLED LOVe/canT KEEP 

WASHBOARD HHYTHM KINGS 
SENT I MENTAL GENT/oONT ME N TH VO 

CLARENCE WILLIAMS BLUE 5 
SHREVEPORT/MEAN BL VO 
SET IT FIXED/SHAKE THAT THING OK 



OK 


4648 


V 


OK 


4351 


V 


OK 


4253 


E 


OK 


4i69v/e 


OK 


4630 


E- 


OK 


4194 


V'r 


OK 


41 16 


V+ 


OK 


4471 


E 


OK 


4113 


V+ 



I 724 V 



1724 v 
8267 E- 



ED ITH WILSON 4 DUNNS JAZZ HOUNDS 



31 RM INGHAM BL /WICKED ol 




CO 


3558 


E 


:vil bl/pensacola bl 




CO 


3746 


E 


r RANKI e/olD TIME BL 




CO 


3506 


V 


HE MAY BE v ouR MAN/RULES 


REGU 


CO 


3653 


E 


.ONESOME MAMA Bl/wpAT DO 


U 


CO 


3674 


E 


/AMPIN LIZA JANE/NERVOUS 


BL 


CO 


3479 


V*- 



42 



SALE 



SALE 

WALNUT MUSIC SHOP 

1118 WALNUT ST., PHILADELPHIA, PA. 
ALL RECORDS IN THIS AD ARE NEW MINT COPIES 
NO COD'S. SEND YOUR WANTS AND YOU WILL BE 
NOTIFIED. RECORDS THEN SHIPPED PP PREPAID 
ON ALL ORDERS OVER S 1.50. NEVER A CHARGE 
FOR PACKING OR WRAPP I NG.SEND YOUR WANTS. 



FPAC 90000 2, 
FPAC S0002 2, 
FPAC 90003 2, 



PA E 


2327 


.3t 


PAE 


23 16 


.31 


HMV 


9185 


.42 


HMV 


92|5 


.42 


SW 


226 


• 5C 


SW 


258 


.50 


HMV 


9449 


.42 


mv 


9327 


.42 


HMV 


9180 


.42 


PAE 


2031 


.31 


PAE 


2932 


.31 



HHV 8410 
HMV 8436 



PAE 2898 
PAE 1535 



HMV 9088 
HMV JO I 8 



GRAEME BELL 

BIRMINGHAM BERTHA/BABY WONT 
TIGER RAG/AINT GONNA GIVE 
CANAL ST BL/lVE GOT WHAT IT 

BUNNY BERIGAN 
CHICKEN WAFFLEs/u TOOK 
IM COM IN VA/BLUES 

BARNEY BIGARD 
LULL AT DAWN/CHARL IE CHULU 
READY EDDY/LAMENT JAVANETTE 

BENNY CARTER 
WHATLL BE/OUT OF WAY 
CADILLAC SLIM/SWEET GA BROWN 
SUNDAy/bACK BAY BOOGIE 

midnight/favorite BL 

ALL OF ME/VERY THOUGHT U 

EDO IE CONDON 
MAKIN FRIENDS 
I NO I ANa/oh BABY 

DUKE ELLINGTON 
SOL I TUDE/TROUBLEn WATERS 
JUNGLE NIGHTS HARLEM 

BREAKFAST DANCE/BUGLE CALL RAG GRF 6948 
6EPIA PANORAMA/jOHN HARDY WIFE GRF 8796 
BEGINNING TO SEe/nOTHIN BUT BL GRF 8692 
SARATOQA SWING/MISTY MORN HMV 825 1 

BL HARLEM/SL I PPERY HORN PAE 2925 

CREOLE LOVE CALL/BL TAN FANTaSYHMV '6344 
THE MOOCHE PAE I 6 1 5 

SHOWBOAT SHUFLE/ECHOS HARLEM PAE 2904 

solitude/sentimental MOOD 
BL vaqabond/syncopated SHUFF 

LIONEL HAMPTON 
I 2 st rag/ai ntcha COM I N HOME 
hot mallets/shufflin at the 

FOR HAMPTON FANS' SPECIAL 
PRIVATE FRENCH ISSUE NO LABEL 
MOON GLOW / LADY BE GOOD 

GENE K3UPA 
MADAM SW I NG I T/qU tOt AND ROLL 

bl pmythm fantasy 
annie laurie/prelude to st 
apurksody/tararaboom 
drumm i n man/tuxedo junction 

CLAUDE LUTER 
WEST END BL/HIGH SOCIETY 
ROYAL GARDEN Bl/wHERE DID U 

JELLY ROLL MORTON 
BUDDY BOLDEN/HIGH SOCIETY 
WININ BOY BL/OH DIDNT HE RAMB 
BALL I N THE JACk/dONT LEAVE ME 
CL IMAX RAG/WEST END BL 
8HREVEP0RT/DEEP CREEK 
GA SWING/MOURNFUL SERENADE 
THATLL NEVER D0/( ELL I NGTON ) 

MUQGSY SPAN IER 
COMPLETE HMV SPAN IER LISTING ALL 1.42 
SOMEDAY SWEETHEARt/thaT DADA STRAIN 
BIG BUTTER EGG MAn/d I PPERMOUTH BL 

l i very stable bl/jazz band ball 
eccentric/shimmy 6ibter kate 
oinah/black blue/ 

AT SUNDOWn/bLUIN BL 

LONESOME ROAD/MANDY MAKE UP MIND 

RELAX IN TOURO/RI VERBOAT SHUFFLE 

JACK TEAQARDEN 
BEALE ST BL/SWINGIN T EA GATE PAE 3735 I 
JUNK MAN/l COULDNT TAKE IT PAE 2599 I 

RED WING/80MEWHERE VOICE PAE 2762 I 

UNDERTOW/PICKIN PATSY PAE 2856 I 

WOLVERINE BL/MUDDY WATER BL PAE 2739 I 



PAE 


2913 


3.00 
1 .31 


PAE 


2765 


1 .31 


PAE 


2897 


1 .31 


PAE 


2905 


1 .31 


PAE 


2750 


l.3l 


FPAC 90009 


2.00 


FPAC 90008 


2.00 


HMV 


9216 


1.42 


HMV 


92 1 7 


1.42 


HMV 


92 18 


1.42 


HMV 


9219 


l.*2 


HMV 


9220 


1.42 


HMV 


9221 


1.42 


HMV 


4836 


1 .42 



ALL DOMESTIC JAZZ LABELS IN STOCK AT ALLTIME 



PROMPT SERVICE GUARANTEED. YOUR ANS'VER IN MAI 
SAME DAY IT IS RECEIVED. THIS WE PROMISE. 



SALE SALE 
AMALGAMATED RECORD GROUP 

P,O.BOX 341, COOPER STATION, NYC, NY 
SALE FOR LOWEST PRICES. NO PACKING CHARGE 
ON ANY ORDER. ALL RECORDS IN'MINT COHDI- 
T ION. NEVER PLAYEB. 



HJCA, PK ISSUES 

louis-oropp in shucks/whosi t(ok) .99 

louis-mess around/gonna gitcha (ok) .99 

oliver-london bl/camp meeting (co) .99 

OLIVER-WHERE DID U STAY LAST NIGHT (ok) .99 
DODDS-BROWN BOTTOM BESs/lADY LOVE ( OK ) .99 

LOU IS ARMSTRONG 
BLACK AND Bl/cANT GIVE U ANYTHING CO .35 
STARDUST/WRAP TROUBLES DREAMS CO .35 
BL FOR YESTERDAY/LITTLE GIRL SW 223 .99 
DONT JIVE ME/CHICAGO BREAKDOWN SWCO 54l .65 
2 deuces/fireworks PAE 2282 .99 

HOTTER THAN THAT/THATS WHEN PAE 2704 .99 

RHYTHM MAN/8L TURNING GRAY PAE 1494 .99 

DUKE ELLINGTON 
midriff/esquire SWANK SW 230 .99 

CLAR LAMENT/DROP ME OFF HARLEM PAE 2876 .99 
HARLEM AIRSHAFT/SEPIA PANORAMA HMV 9 1 36 .99 
JUMP IN PUNKINS/BL SERGE HMV 9 1 96 .99 

SANTA PECORA-MAGNOLI A Bl/nEVER KNEWPA3050 .99 
IOHNNY HOOGES-PYRAM I D/EMPTY BALLR00PA3 I I 5 .99 

REX STEWART 
I know u know/finesse 

MOBILE 8»y/w|TH0UT A SONG 
pawnee/3 HORN PARLEY 

BARNEY BIGARD-READY EDDy/lAMENT HMV 92 1 5 

odjb/resi enwebber/ti GER RAG 

JOHN K IRBY 
FRONT CENTER 

LOVE U TRULY/CUTTIN CAMPUS 
IMPR8MPTU/MINUTE WALTZ 
CLAUDE LUTER 



SW 


70 


.99 


HMV 


9208 


.99 


PAE 


3l06 


.99 


HMV 


92 |5 


.99 


BRE 


2500 


.99 


PAE 


2772 


.99 


PAE 


2818 


.99 


PAE 


2892 


.99 



PA 90008 .99 



VJR 


9 


1.50 


JAZZ5006 


2.00 


BRE 


221 3 


.99 


BRE 


2209 


.99 


BRE 


22 1 2 


.99 


BRE 


22|0 


.99 


BRE 


2208 


.99 


BRE 


221 I 


.99 


PLA 


1 16 


2.00 


OR 


G05092.00 


JAZZ5008 


2.00 


VJR 


15 


2.00 



ROYAL GARDEn/wDUS LAST NIGHT 
BIX 

GOOSE PIMPLES/TRUMBOLOGY PAE 2465 .99 

COPENHAGEN/TIGER RAG BRE 2205 .99 

DAVENPORT BL/WASHBOARD Bl( JUGGLERS ) BRE2206. 99 
IM GLAD/FLOCK 0 BL(SCS) BRE 2207 .99 

AINT NO LAND LIKE/cRADLE CAROLINEDAV 11042.00 
SENSATION/LAZY DADDY 
Rl VERBOAT SHUFFLE/sUZ I E 
NORK 

BUGLE CALL RAg/sAN 
MAPLE LEAF RAG/CLAR MARM 
PANAMA/TI GER RAG 
SWEET LOVIN MAN/LONDON BL 
THATS A PLENTY/TIN ROOF 
f"|£|REWELL r Bl/eCCENTR I C 
GOLDEN LEAF STRUT/sHES CRY IN 
WOLVERINE BL/WEARY BL TE 
SH TMMESAHWABBLE/m I LENBERG 
CLAR MARM/MR JELLY LORD 

KING OLIVER 
Dl ppermouth/canal ST BL 
MBELS DREAM/RIVERSIDE BL 
WEATHERBIRD RAG/jUST GONE 
MANDY LEE/lM GOIN AWAY 
CHATANOOGA STOMP/n. 0 . S TOMP 
LONDON BL/CAMP MEETING BL 
WHERE DID U STAY LAST NIGHT 
ROOM RENT/l AINT GONNA TELL 
MABELS DREAM/SWEET BABY DOLL 

JELLY ROLL MORTON 
LITTLE DIXIE HOMe/tHATS LIKE OUGHTH JCA 1 5 .99 
BILLY GOAT STOMP/hYENA STOMP HJCA II L99 
GRANDPAS SPELL/CANNON BALL HJCA 54 2.00 

JUNGLE BL/wiLDMAN BL BRITISH RHYTHM SOC .99 

TURTLE TWIST/SMILING BL AWAY SWHMV 2.00 

DR JAZZ/ORIG JELLY ROLL BL GRF 874| 2.00 
PEP /FAT FRANCES ( PIANO SOLOS) GRF 2.00 

BESSIE SMITH 
CEMETERY Bl/aNY WOMAN BL COF 2|7 2.50 

WILD ABOUT THAT Th/ SWCO 2.50 

DYIN BY HOUR/FOOLISH MAN BL SWCO 2.50 

DODDS -BULL FIDDLE 2.50;TO0 tight2.50;heah 
ME TALKIN2.50 (ALL THREE ARE SW HMV ) 



BRE 2200 .99 
BRE 3575 I .50 
BRE 2202 .99 
BRE 2201 .99 

: 2.00 

HJCA 1 8 .99 
20 .99 
— .99 
(ok). 99 



HJCA 
HJCA 
HJCA 



SALE 



B. J. PRINCE 



AUCTION 



2524 NW N. RIVER DRIVE, 

MIAMI 35, FLORIDA 
CONDITION GUARANTEED. 25(i SHIPPING CHG 
ON ORDERS LESS THAN % 3.00. ENCLOSE PAY- 
MENT WITH ORDER. SEND WANT LISTS ON 
THESE ART ISTS. 



LOU IS ARMSTRONG 

GOIN TO SHOUT/NOBOY KNOWS 
THANKS MILLION/SOLITUDE 
NO ONE ELSE/BEAU KOO 
PUT EM DOWN/POTOTO HEAD 

COUNT BASIE 
FEED I N 8EAn/| DO 
KING JOE 1-2 
MY OLD FLAME/TOM THUM 

CAB CALLOWAY 



FDR JONES/ANGELS 
FLOOGIE WALK/GHOST OF 
POPS IN bed/call ALL BARS 

SILLY OLD MOON/BOB *A BOO 
FT JAMES INF/u ARE 
BL IN Nl GHT/SAYSWHO 
LARRY CL I NT ON 

A BSD ABA /CAMPBELLS 
ALWAYS ALWAYS/DR RHYTHM 
STOLEN HEAVEN/wHO DO U 
IF IT RA I Ns/fEKD INAND THE 
SOLID OL MAN/WORRIED 

IDA COX 
HARD TIMES Bl/fOUR DAY 
I CANT QUIT/LAST MILE 

TOMMY DORSEY 
GETTING SENTIMENATL/lVE GOT 
THANKS FOR E VE RYTH I NG/l LL DR 
THINGS I WANT/ALLEGHANY 
LETS GET AWAY (siNATRa) 

SHEP FIELDS 
SOUTH BORDER/ITS ALL 
NARCI SSUS/AVANT TOOT 

BENNY GOODMAN 
LIMEHOUSE BL/|F I HAD 
JERSEY BOUNCE/STRING OF 
IM here/caprice XXIV 
SOLO FLIGHT/THE WORLD 
BODY SOUL/AFTER U GONE 
NOBODY SWEETHEART/MORE THAN 

EftRL HIMEf 
JUL I A/COM IN IN HOME 
WATER BOY/wiNDY CITY 
FATHER JUMPS/OITNEY MAN 

HARRY JAMES 

BACK BEAT/NIGHT SPECIAL 
D«DDY/ARO RA 

I ocl/2 OCL 
noth i n/record session 

glenn miller 
pavanne/little brown jug 
devil may care/lm stepping 
dear arabella/orange blossoms bb 11326 e 



DE 


2086 E 


1 .00 


DE 


666 E 


1.25 


VO 


3085 E 


1.75 


OK 


8503 E 


AUC 


OK 


6i80v/ei .00 


OK 


6475 N 


11.25 


OK 


6 527 E 


1 .00 


VO 


4498v/e 


.75 


VO 


4807 E 


1.00 


VO 


5731 E 


1.00 


VO 


5774 E 


1 .00 


VO 


6391 E 


1 .00 


VO 


6422v/e 


.75 


VI 


25707 E 


1 .00 


VI 


25768e/v 


.75 


VI 


25829 E 


1 .00 


V 1 


25841 E 


.75 


BB 


1 |343e/g 


.75 


VO 


5298 E 


1.75 


OK 


6405 E 


i .75 


VI 


25236n/g 


.75 


\MV 125534 E 


1.75 


VI 


25623v/ei .00 


VI 


27377 E 


1.25 


BB 


10376 V 


.75 


BB 


10688 E 


1 .00 


OK 


6486 E 


1.00 


OK 


6590 N 


1.00 


CO 


364|| E 


.75 


CO 


36684 N 


1.00 


VI 


25115 E 


2.00 


VI 


25345 E 


2.00 


BB 


1 1 I99V/E 


.75 


BB 


1 |329 N 


1.00 


BB 


1 i535eA 


.75 


CO 


35456 E 


1.25 



YESTERDAYS GARDEN I AS/COM I NG 

BENNY MOTEN 
MOTEN SW I NG/TOBY 
HARD TO LAUGH/HOT 

NEW orleans/lafayette 

MARY LEE/TOUGH BREAKS 

JELLY ROLL MORTON 

K.C stomp/georgia 

red hot/mournful 

st-okin away/little gray 

sidewalk bl/dead MAN BL 

DR JAZZ/MEMPHIS 

MR JELLY ROLL/STEADY ROLL 
FATS WALLER 

sweet beginning/rhythm 

west wind/sing an old 

sad sack sucker/rump steak 

oh baby /pan pan 

cash for'you/that GETS 

WINTER WEATHER/CLARINET 

PAUL WH I TEMAN 
saxophone waltz/all depends 
just echo/till tomorrow 



CO 36|7ie/ni .00 
CO 36232e/ni .00 
CO 36399n/ei.OO 

BB 10286 V .75 
BBRI07I7 E 1.25 
.90 
.00 



VI 27933 N 

BB 6032 E I .25 

BB 643 1 N 1.50, 

BB 62 1 8 E I .25 

BB 6638 E I .50' 

BB 5I09G/EI.OO 
BB 660IE/VI.25 
BB 3802 E 1.50 
VI 20252 E AUC 
VI 204|5 V AUC 

BWY I I 397 E AUC 

VI 25i3ie/vi.25 
VI 25253 E I .50 
BB I I 296 E I .00 
BB II383e/n|.0O 
bb ii425e/ni.00 
BB I 1469 N 1 .25 

VI 205i3n/e2.50 
VI 24201 E 1.25 



43 



AUCTION AUCTION 
BARNEY CROSBY 

55 RICE ST., SAN FRANCISCO 5, CALIF. 
COND. GUARANTEED. SHIP RRX COO UNLESS OTHER- 
WISE NOTIFIED. PP SHIPMENTS SEND UPON RECEIPT 
OF BID PLUS POSTAGE. PKG CHG 25* ON ORDERS 
UNDER % 5.00. 



PAE 


265 


v+ 


PA£ 


|4; 


V+" 


PAE 


205* 


r 


PAE 


I83C 


E 


PAE 


2l76 


E 


PAE 


1882 


E 


PAE 


264? 


E 


PAE 


398 


E 


PAE 


71 4 


E 


PAE 


2687 


E 


PAE 


lOf 




PAE 


?98 


e 


PAE 


1978 


E 


PAE 


2304 


E 


VI 23008 


E 


PAE 


2269 


E 


PAE 


2833 


E 


PAE 


2580 


E 


HUV 


4897 


E 


HUV 


6|33 


E 


COE 


5040 E 


HKV 


8931 


E 


BRE 


2204 


E 


BSE 


22C3 


E 


HRS75789 


E 



TAKE TOMORRO«/dUSKY STEVE 
LILA,^Y PET 

jubilee/since BEST GIRL 
singin the 3l/bix0l0gy 
crying all day/japanese sandman 
bless u sister/feelin spirit 
love nest/(vilt shaw)alamo 
•ait til u see/carolina club 
I like that/(seger ellis) 
•ay oo»n yonder/im com in va 
c=azy cat/3 blind mice 

fENDIMENTAL BA3y/l UISIANA 

baby »ont u please/manhattan rag 
clar maru/( Ellington) 

ill 8e frieno/oont hind *alk i n 
rhytwi king/y|ff mole 
uargie/louisiana 
royal garden/jazz UE BL 

HOAGY CARMICHAEL (BIX) 
rock n chair/(luis russell) 
ga on mino/ellington)mystery son 

PAUL tHITEMAN (BIX) 
FELIX cat/georgia forgie 
dardanella/sugar 

WOLVERINES (BIX) 
fl dgety feet/royl garden 
jazz me bl/big boy 
lazy daddy/rherboat SHUFFLE 

NE« T»l STER/SHIMMESAH»AB3LE 

ENNY G00OMA-; 
CLAP I NET I T I s/THATS PLENTY 
LOVE ME LEAVE Me/»HY COULONT IT 
JUNK MAN/OL PAPPY 
AS LONG AS LIVE/l A I NT LAZY 
KEEP ON DOIN (HAT U 001 N 
MUSIC HALL RAg/D0«N HOME RAG 
GEORGIE JUBILEE/EM AL INE 
LIKE BOLT FROM Bl/|00% FOR U 
RIFF1N SCOTCH/TAPPI N BARREL 
AINTCKA GLAO/RIGHT SING BL 
Nl T» 1 T SEF.En/buGLE CALL RAG 

IZZY RINGOLD (KING OLiVER ???) 

GOOD MEAT CUTTER/MERRY WAY CO I45C9 N 
N.O.R.K. 

•EARY BL/«OLVERI NE BL (PLASTIC) TEE 2 N 

MILENBERG JOYS/MR JELLY LORD (*) TEE 3 N 
INS OLIVER 

TRUMPETS PRAYER/CALL FREAKS HUV 36 N 

N.O. STOMP/CH A TANOOGA STOMP COF 3079 N 

stop crying/jungle BAND BRE IIC5 E 

STRUGGLE BUGGy/dONT U THINK HUV 4930 E 

MULE FACE Bl/B0OGIE »00GIE BB 6678 E 

CARROLL D ICKERS 
SYMPHONIC »RAPS/SAV0YAGERS STOMP ( LA ) ADA29523 I E 
BLACK MARIA/MISSOURI SQUABBLE BRE 3853 E 

LETCHER HENDERSON ( ARMSTRON 
■ORDS/COPENHAGEN VO 14926 E 

GRAEME B ELL 

PACI0563 N 
5 N 
|5 N 
3 

I I N 

10 N 



NO Blx)BRE3856 v 



PAN." ?5C|7 E 

CO 2871 E 
COE 730 E 
PAE 2695 E 
COE 745 E 
COE 50l I n 
COE 759 E 
COE 1023 N 
COE 501 1 E 
COE 692 E 
COE 1003 N 



Tl GER RAG/NONE JELLY ROLL 
GA CAMP MEETING/BACK HOME (PLASTIc)AMP 
ALEX RAG BAND/lM LITTLE BLACKB IRO(* )AMP 

„/:z band ball/alma st requiem(") AUP 

CANAL ST BL/AZTEC PRINCESS (*) AMP 
TICKLE RAG/BL FOR SHIRLEY ("1 AMP 

JUST CLISER »ALK/CREOLE BELLES ( I 2"* )AMPI 20l N 
S»ANSTON ST SHAMBLE/2 OAY JAG (•) AMP 2 
JENNIES BALL/BIG BAD MAN 1")aMP I 3 N 

se: nichqls 

CAROLINA I N MORN I NG/WHO BRE 1062 

BL ABAIk/kENTUCKY BIDS GOOD MORN BRE I 082 
imagination/orig dix ONE STEP BRE 3871 

SING CROSBY (WIT DUKE. .M I SLA BELEO ) 
2 cigarettes in dark/very thought brg 9754 e 

SIX BLUE CHIPS 
CHEAT IN CHEECh/6TEEL ROOF 0EE 7809 N 

■ANT BINO CROSBY BR 20i06,ok4 I I 8i ,4i 1 68 



AUCTION Trade 
JOHN HOWARD 

350 SW 10th AVE., PORTLAND, OREGON 
NO PKG CHG. SHIPPINGS CHGS PREPAID ON ALL 
ORDERS OVER t 5. 00. MINIMUM ORDER 2 RECORDS 
MINIMUM BIO 75*. WINNERS NOTIFIED AND RECORD 
SHIPPED ON MY RECEIPT OF AMT DOE. GRADING 
DONE BY EAR. ALL ORIG LABEL, EXCEPT HMV • IF 
INTERESTED IN TRADING SEND FOR MY WANT LIST. 



HENRY ALLEN 
BEACH BALI BALI /TAKE HEART 
DID U MEAN IT/CHAPEL MOONLIGHT 
KITEHEN HEAVEN/GNITE LUCKY 
MILLERS DAUGHTER/CLOCK STR 3 
NOThIN BLUE/TORMENTED 
OL MAN R1VER/KK BOOGIE 
I NDI ANA/SHER I DAN SQ 

LOUIS ARMSTRONG 
BAMBOO BRIDGE/HAWAI IAN HOSP 
JONAH WHALE/SHADRACH 
U LUCKY GUY/jUST NO ACCOUNT 
ILL GET MINE/YES SUH 
COUNT BASIE 

I OCL JUMP/jOHNS IDEA 

SENT U YESTERDAy/sw| NGIN BL 

BUNNY BERIGAN 

I HAD MY WAy/nEARLY LET LOVE 

DAVENPORT 8L/FLASHES 

S»EET VARSITY SUE/»HY TALK ABOUT 

WILL BRADLEY 
SOUTHPAW seren/bounce WE BROT 
TEA FOR 2/THI NK ME 

BENNY CARTER 

VERY THOUGHT u/aLL OF ME 
■UNDAy/e.ACK BAY BOOGIE 

BOB CROSBY BOBCATS 
LOOPIN LOOP /inspiration 
mistriss mine/lover lass 
adics ameri cano/all over no* 

bob crosby orch 
chief desoto/crosspatch 
john peel/grand terrace rhythm 
su«mertime/im free 
pray i n humble/swingin sugar * 

DIGA DOO 1-2 

Hit PEO robin/them THERE EYES 

CHERRY/DAY IN DAY OUT 
•ORLD *AIT SUNRISE/BLUE 
SHORTN I N BREAD/EMBRACABLE U 
BLACK ZEPHYP/BL SURREAL 

TOMMY SDORSEY 
li ebestraum/wenoolsohn spring 
promise me/shine on harvest 
cocktails for 2/old black joe 
lets get away 1-2 
maple leaf rag/jamboree 

ZIGGY ELMAN 
SUGAR/29TH DEARBORN 
BUBLI TCHK I /AND ANGELS SING 
ZAGGIN Zl G/YOUR MINE 
LETS FALL IN LOVE/nEVER BE SAME 
IM YOURS/U TOOK ADVANTAGE 

IV bl/everything TO LIVE FOR 
thru with love/something to 
deep night/by and by 
JEAN GOLDKETTE 

Dl NAH/AFTER I SAY SORRY 
GIMME LITTLE K I «s/l0NES0ME 

idolizinq/hushabye 
sunoay/rather be girl 
gonna meet sweetie/(shilkreet ) 
BENNY GOODMAII QUARTET 

MUST HAVE THAT MAn/wOND ERFUL 

bl your flat/mv FLAT 

BENNY GOODMAN ORCH 
ORGAN GRINDER Sw/PETER P I PER 
meinni ei/oocher/bob WHITE 

CI RIBI RIB In/bUMBLE BEE ST 
NO OTHER. ONE/YANKEE DOODLE 
SAVING MYSELF/DONT WAKE HEART 
SWING LOW CHARIOT/u AND 1 YOUNG 
LET SONG GO/FEELING HIGH HAPPY 
WRAP IT UP/MELANCHOLY BABY 
CLAR ALA KING/HOW LONG HAS 
THE EARL/LETS DO IT 
LITTLE COUSIN/ZOOT SUIT 



VO 


3261 N 


vo 


3377 N 


vo 


3490 N 


v 0 


3607 N 


vo 


3245 N 


OK 


6281 N 


OK 


6397 fl 


DE 


|2(6e/v 




1 5 1 3 E 


DE 


2934 n 


DE 


3900E/V 


DE 


1363 N 


DE 


1880 V 


VO 


3254 E 


VI 


26 1 21 E 


VI 


25667 E 


CO 


35963 N 


CO 


36lOl F 


BB 


10962 N 


BE' 


1 1 34| N 


DE 


2209 E 


DE 


2662n/e 


OE 


3104 v 



84| N 

I 725 E 
220S t 
2210 E 
2275 E 
253B E 
2703 E 
2734 E 
3271 e/n 
44i5e/v 



VI 25539 E 
VI 25780 E 
VI 26i 45 E 
vi 27377 n 
HMV 8643 N 

BB I0C96 N 

BB 10103 E 
BB I 03 10 F 
BB 10342 E 
8B |04|3 E 
BB 10490 N 
BB 10663 N 
HUV 91 72 ti 

VI 19947 E 

VI 20031 V 

VI 20270 N 

vi 20273 V 

VI 20675 E 

V| 26090 v 
VI 26044 N 

vi 25442 N 
vi 25683 N 
VI 26087 N 
VI 25193 N 
VI 25867 N 
vi 25492 N 
VI 25840 E 
VI 25830 E 
OK 6544 E 
OK 6474 E 
OK 6606 E 



AUCTION 



Trade 



BUCKLIN MOON 

% DOUBLEDAY 4 C0.,l4 W.49ST NYC 
WINDERS NOTIFIED. RECORDS SENT DAY YOU 
SPECIFY HOW AND SEND MONEY • NO COD'S 
BECAUSE LAST AUCTION CURIOSITY BIDDERS 
REFUSED TO ACCEPT THEM. DONT BLAME ME 
BLAME A FEW DEAD BEATS. WILL TRADE ANY 
OF THESE FOR N.O., OR EARLY BLUES. 
TRADERS WRITE EARLY PLEASE. 



GLEN GRAY (ALL E-M 
WASHBOARD Bl/lITTLE OLD LADY 

thru/tumbleweed 
alex rag /old gray bonnet 
time on hands/if i diont 
riverb at shuff/still night 
rockin chair/lazy bones 
sunrise serenade/heaven can wait 
billie holdiday (all e») 

NO REGRET/DID I REMEMBER 
SAILBOAT/BORN TO LOVE 
LAUGHIN LIFE/TELL ME MORE 
LUCKY GUY/jUST NO ACCOUNT 
DREAM OF LIFE/THATS ALL 
SAME OTHER SPRING/THEM THERE 
TO LOVELY TO LAST/WHY DID I 
HAVIN A TIME/SAYS HEART 
PRACTICE MAKES BERFECt/sAME OLD ! 

EARL HINES (ALL E+) 
copenhagen/rosetta 
please/goodni te 
bubbling over/bl 
rosetta/caverni sm 

R-iY T H'M SUNDAE/l CANT 
BEAU K00 JACK/GOOD 

LITTLE BROTHER 
FARISH ST JIVE 

J IMMY LUNCEFORD ( ALL E) 

SHOEMAKERS H0L1DAy/u SET ME ON F 

hi t.Tin bottle/dream 

JELLY ROLL MORTON 



thatll never do/duke 
buddy boloens bl/high society 
bl blood bl/ga swing 
shoe shiners drag/shreveport 

J IMMY NOONE 
GOT MY NUMBER/faoODY 

WILD BILL DAVISON 

BL Kl Ck/sURRENDER COLL ITTI. I 02N 

ALBERT AMMONS RHYTHM K INGS (ALL E+J 
BOOG I E woogie/nagasaki 



DE 


2394 


DE 


2777 


BR 


6100 


VR 


6201 


DE 


2398 


DE 


2395 


DE 


2321 


VO 


3276 


VO 


3605 


OK 


57|9 


VO 


5302 


VO 


4831 


VO 


5021 


VO 


4834 


vo 


4208 


T0ROK5806 


DE 


337 


VO 


4008 


DE 


714 


BR 


654; 


VO 


3467 


BB 


7768 


BB 


101 77 


REVO 


47 l2 


DE 


765 


HMV 


4836 


HMV 


9216 


HMV 


34|9 


BB 


5707 


BB 


8609 



MILE NO BIRD BL/EARLY MORN IN BL 

COUNT BASIE (ALL E+) 
baby/rockabye basie/ 

RED WAGOn/duPREE BL 

boogie woogie/how long 

cant believe/moonlight 

sing for u supper/heart belongs 

shorty george/thursday 

nobody knows/song island 

our love/goodmorn i ng bl 

my wanderin man/5 ocl whistle 

|2 st bl/jump for me 

hey lawdy mama/the fives 

oh red/fare thee well 

broadway/the jitters 

last affair/blues 

dirty dozen/sun goes down 

swingin on daisey/l ocl jump 

roseland shuffle/honeysuckle rose 

pesnys from heaven/da i sey chain 

out window/keep remembering 

jive at 5/evil bl 

topsy/dont u miss baby 

d1ckys dream/l ester l aps in 

netchaf dream/chicago 

let me dream/time out 

miss thing 1-2 

i ocl jump/johns idea 

DOC COOK DREAMLAND ORCH 
HUM STRUw/l GOT WORRY 

BOB CROSBY (MOSTLY BOBCATS) 
SQUEEZE ME/MILK COW BL 
BIG BASS VIOL/SPEAK TO ME 

DA I SEY MART I N JAZZ BELLHOPS 
ROYAL GARDEN Bl/spREAD YOUR STUFF 



DE 
DE 



749 

975 



VO 


4747 




DE 


3071 




DE 


2355 




VO 


5036 




DE 


2249 




DE 


2325 




VO 


5|69 




DE 


1446 




OK 


5922 




VO 


4886 




DE 


2722 




DE 


2 780 




OK 


6095 




DE 


2284 




DE 


2498 




OE 


3408 




DE 


1 |4i 




DE 


1 121 




DE 


1581 




DE 


2922 




DE 


1770 




VO 


5|88 




DE 


661 




DE 


1538 




VO 


4860 




DE 


1663 




CO 


1*30 


E+ 


DE 


1962 


E 


DE 


2206 


E 


GE 


471 2 


N 



RECORDS 



SIX GREAT SIDES 

fey 

BOB WILBER'S 
WILDCATS 



ALBUM A-IOI 

including 

WHEN YOU WORE A TULIP 
TROUBLE IN MIND 

FROG-I-MORE RAG 
OH. DADDY 

CAMP MEETING BLUES* 
ONCE IN A WHILE 

Three 10-inch Records— $3.75 



Also Available 

BOB WILBER'S WILDCATS 

No. 1 Snake Rag - Salty Dog 

No- 2 New Orleans Shuffle - I Can't Say 

No. 3 Chimes Blues - Old Fashioned Love 



The Brilliant Young French Clarinetist 

CLAUDE LUTER 

and his New Orleans-Style Jazz Band 



#4 Ory's Creole Trombone 
Wild Cat Blues 



NEW YORK STATE 



LESLIE DISTRIBUTORS CORP. 
419 WEST 48TH STREET 
NEW YORK 19, N. Y. 



le Trombone #5 Sport Model Mama 

Uues Tiger Rag 

$1.05 each (Incl. Tax) Usual Dealer Discount + 

RAMPART RECORDS BOS ton 

P. O. BOX 276. Grand Central Sta., NEW YORK 17, N. Y. ^ 

* College Music Shop 

West Coast Distributor 338 MASS AVENUE, 



YERBA BUENA MUSIC SHOP 
5721 Grove St., Oakland 9, Calif. 



Boston is. mass. 





1 



est 



^ e hand/* 



as 



e s «ch /obe/s 



RANTED 1 



LATEST RELEASESl 
King Oliver 

liOndon Cafe/Ain't Gonna 

Mahel's Dream/Sweet Bahy 

Jazzin' Bahies/( Tux. Orch.) 

Workinpman/Riverside Blues 

Sohhin' Blues/Sweet Lovin' 

Canal St. /Chimes Blues 

Froggie Moore ,/Mandy Lee 

Snake Rag/Weather Bird 

TJippermouth/(ROJB) 

Dippermouth/Where Did You 

Southern Stomps/John. Hot) 

Alligator Hop/Krooked Blues 

Room Rent Blues/I Ain't 
J-R Morton's Hot Peppers 

Hyena Stomp/Billy Goat 

Wild Man/ Jungle Blues 

Steamboat/ Smoke House 
Armstrong Hot Five 

Sweet Little/Big Eat 

I'm Gonna/Don't Forget 

Droppin' /Who ' s It 

Lonesome Blues/King of Zulu"] — ~ 

Georgia Gr./Come Back I ^ 

1 " l| > 



please 
Af/anted 



state 
and 



arefulfe' 



Want lists, 
condition 
maximum offer . 

"J *5 and answered, 
If we can t ^ e Sam 

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along that 



so 



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nothing 

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mi 
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Collections-large and small 
customers waiting for all 
New Orleans Jazz, also 
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Will "buy. or sell on com- 
mission "basis. 



poR SALS 
T. Horsey 
collection, 
leave your 
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and Basie 

500- records, 
wants at the 




iO 1L„C 
(Mi I iu - 




NEW YORK AND VICINITY 

Big news for jazz fans in the New York area 
is that both Charles Delaunay and Hughes 
Panassie are in town. Panassie is giving some 
talks at jazz club meetings, among other busi- 
ness, and Delaunay is working on his first sup- 
plement to the New Hot Discography. His 
greatest work, though, is being carried around 
in his satchel. It is the jazz Encyclopedia which 
may prove to be the most complete reference 
work about jazz and its creators. 

The fine new jazz joint in Greenwich Village 
sector, the "Riviera", is doing a landoffice 
business by featuring the fine trio work of Art 
Hodes, Pee Wee Russell, and Herb Ward. 
Sitting in are such stalwarts as Tony Parenti, 
George Wettling, Lips Page, and the greatest 
suitcase player in the world, "Josh" B llings. 
He will be remembered for his work with the 
Mound City Blue Blowers. 

Bechet has been the big attraction at most 
of the sessions hereabouts. Billy Butterfield 
still at Nicks. 

Tony Parenti doing the best job of mission- 
ary work for jazz in these parts. Playing three 
days a week at the Rustic Lodge in New 
Brunswick, N. J. Featured with a local band 
have been fuch stars as Joe Sullivan, James P. 
Johnson, The Lion, Wild Bill, Buck Clayton, 
and other top names. Friday, Saturday, and 
Sunday nights are when they stomp off. Tony 
also has been active in the Bridgeport area at 
the Tip Toe Club where his regular band fea- 
tures Johnny Glasel (from Yale), Freddie 
Moore, newlywed Charlie Traeger, and other 
top local boys. Pictured on this page is the 
band on a recent March of Dimes street parade 
featuring Ray Diehl's authentic tailgate. 

Circle records has just recorded the great 
Bob Wilber band in Boston and has signed 
them to a house contract. The growing jazz 
club in Philadelphia, "Jazz Unlimited", is about 
to release its first private club reissue: A 
marching band and a piano rag. For members 
only, but out-of-towners can join, too. Con- 
tact the club at 1118 Walnut St. They have 
room for about 20 new members. One of our 
spies tells us that a member of the Watters 
band was seen at a Gillespie concert the other 
night and seemed to be having a ball. My, 
My! 

SHORT SHOTS 

Davison and Bechet did another date for 
Blue Note with Hodes, Moore and Page . . . 
Knocky Parker set to record for Eli Oberstein 
. . . Punch Miller in Florida, heading for New 
York . . . King Cole added a bongo player to 
his unit . . . James P. Johnson going to Holly- 
wood to do some picture music . . Fred Rob- 
bins has a new TV show . . . Mildred Bailey 
looking slimmer than ever at the Cafe Society 
. . . Brunis talking about suing True Magaine 
and George Frazier over the story they ran 
about him . . . New low in jazz concert at- 
tendance was hit at a local club where only 
two people are reported to have shown up 
. . . Joe Marsala selling his toy business and 



jazz parade 



LATE NEWS FROM COAST TO COAST 



returning to t.ie jazz game. He's on a Noone 
kick and sounding great at the Friday night 
sessions Bob Maltz throws at the Central Plaza 
. . . The Royal Roost giving up Bop, but its 
owners opening up a new joint to be called 
Bop City ... Ed Allen, the great trumpet 
player on most of the old Clarence Williams 
records, is playing in a taxi dance hall on Nth 
St., The New Gardens . . . Alberta Hunter in 
town, singing better than ever ... A new blues 
piano find from down south is Big Boy Ellis, 
very fine . . . Shirley Clay, Jabbo Smith, Reu- 
ben Reeves, and June Clark all will appear at 
the Central Plaza sessions in the very near 
future . . . Reeves is playing great horn with 
Harry Dial's combo in the Bronx . . . Artie 
Shaw doing a classical concert at Carnegie. 



CHICAGO— Walter Wager 

Despite the fact that business was recover- 
ing slowly from the anticipated seasonal slump 
and night club proprietors were weeping into 
their Alka-Seltzers all over this Windy City, 
there was plenty of fine music to be had by 
the more sure-footed jazz fans. 

A motorcycle would have helped, however, 
as it was scattered all over to-hell-and-gone. 
Red Allen, J. C. Higginbotham, Don Stovall 
& Co. followed Herbie Fields into the Sil- 
houette on the Evanston frontier, while Miff 
Mole, Baby Dodds, Darnell Howard and Art 
Gronwall were off on their usual dandy Dixie 
tear at the Beehive on 55th Street. 



Between these cultural outposts there was a 
great deal doing. Danny Alvin's inspired 
drums were leading a talented gang labelled 
"The Dixielanders" at Isbell's Bryn Mawr men- 
age, with Floyd Bean, piano; Jimmy James, 
trombone; Jack Ivett, cornet; and Charlie 
Morrell, clarinet. 

Muggsy Spanier's hot horn continued to fill 
Ruth and Bill Rinehart's highly civilized Jazz 
Ltd. fairly regularly. The contented manage- 
ment of this relaxing bistro also announced 
that final disks for its album had been cut. 
Now on wax are Washington and Lee Swing 
and A Good Man Is Hard To Find, featuring 
Muggsy, Egyptian Fantasy, Careless Love and 
Maryland, My Maryland, starring Sidney Bechet. 
some splendid Doc Evans trumpet on It's « 
Long Long Way to Tipperary and Wolverine 
Blues, and a Don Ewell piano solo of Maple 
Leaf Rag. 

The unfortunate Music Bowl closed up shop 
temporarily, just as it looked as if good book- 
ings and smart publicity might be getting that 
big empty room back on its feet. To counter- 
balance the loss, there was Max Miller's very 
special trio playing his own kind of pure music 
at the recently opened Hi-Note at 450 North 
Clark. With Earl Backus on electric guitar and 
Buddy Nichols on bass, this piano man is get- 
ting some recognition at last and will be re- 
cording again. 

He'll take a seven piece band into the ever- 
popular Blue Note to bact: Mel Torme for the 
fortnight beginning March 27, following two 
weeks of the Duke of Ellington in that fre- 






quently exciting cellar. It is hardly necessary 
to note that the solid month of Sarah Vaughan 
and Lester Young which ended March 12 was 
really solid. 

Lee Collins' thundering trio continued to 
defy the elements at the Victory Club on 
Clark Street, and the boss horn showed up 
with the legendary Natty Dominique, Danny 
Alvin, Jimmy James and the superior house 
band at a most satisfactory February 20 Dixie 
concert at the Beehive. Of considerable in- 
terest was the young Seattle combo known as 
the Rainy City Band, a terrifically hard-hitting 
unit of the old, old school. 

For them as likes thrushes, Nellie Lutcher 
eased her ample frame into the Rag Doll on 
March 2 and Anita O'Day took her tonsils 
into the Hi-Note on the 4th. One Jazz-at- 
the-Phil bash occurs at the Opera House on 
March 25, and it is hard to say what else 
may break loose around this area. Like the 
man said, it's still Chicago. 

LOS ANGELES— Jack Lewercke 

The picture of the month elsewhere on this 
page is the Fire House Five Plus Two. This 
group has for some time been playing for its 
own amazement but has become so popular 
around town that they may soon record. The 
leader is trombonist Ward Kimball. Kimball is 
also well known for his other great hobby, 
model railroads. He has a train with four cars, 
a railroad depot, car barn, and about 300 feet 
of track in his back yard. Other members of 
the group are Clarke Mallery, clarinet; Jim 
MacDonald, drums; Harper Goff, banjo; Ed 
Penner, bass Johnny Lucas, trumpet; Frank 
Thomas, the pianist, was unable to get his key- 
board onto the old 1914 America La France 
fire engine. This is without doubt the gonest 
picture we have ever printed. 



SAN FRANCISCO AREA— Dick Oxtot 

Albert Nicholas' four piece band livened the 
San Francisco jazz fare considerably last 
month. With bopster Dizzy Gillespie just across 
the street, Nicholas demonstrated that New 
Orleans oldsters can still pay their way if given 
the opportunity. Nick entertained Interna- 
tional Settlement clientele with a repertoire 
made up mostly of Dixie tunes, but threw in 
enough pops and standards (such as How 
High the Moon) to keep the progressives 
happy, too. As a result Nick's 2-week option 
at the Arabian Nights was taken up and his 
engagement extended. 

The Yerba Buena Jazz Band continued to 
operate without maestro Lu Watters, still con- 
valescing from an operation. The rock-col- 
lecting trumpeter is currently compiling a cook 
book of gargantuan proportions, which will 
contain all the dishes served at Hambone 
Kelly's plus other concoctions conjured up by 
the Watters brain. 



BOSTON— Bob Parent 

The new year received a resounding start in 
Boston when the staid Tes'dents of Back Bay 
were treated to a New Orelans style wagon 
parade on the evening of Jan. 3rd. Follow- 
ing a reception by the Bob Wilber Dixieland 
Jazz Club at Back Bay RR Station, the Bob 
Wilber Band boarded a waiting wagon and 
started off with When The Saints Go Marching 
In. Wending their way through sections of 
Back Bay and South End, the parade ended at 
the Savoy Cafe where both Wilber's Band and 
Ed Hall's Quartet reopened that night, after 
a few weeks absence, for an indefinite stand. 
Besides Wilber, band consists of Jimmy Archey, 



Henry Goodwin, Pops Foster, Dick Wellstood, 
and Tommy Benford. With Ed Hall are George 
Wein and Ev Schwarz alternating at the key- 
board; John Fieid, bass; and Joe Cochrane, 
drums. 

Excellent Dixieland jazz continues to be served 
to those who attend the Sunday afternoon 
sessions at Pelletier's (formerly the Alibi) in 
Lynn. Under the direction of George Poor, 
trumpet, music is dished out by Paul Watson, 
trumpet; Howie Gadboys, clarinet; Bob Gay, 
trombone; Arthur Karle, tenor; Joe Battaglia 
or Ev Schwarz, piano; John Harbo or John 
Field, bass; Bill Learoyd, parralute; and Tony 
Hannon or Charlie Hegarty, drums. 

The 'Danceable Jazz' program fostered by 
Dick Mascott of the Boston MCA office, and 
mentioned in this column last January, got 
under way during February when the Edmond 
Hall Septet played for the Carnival Ball of 
the Dartmouth College Winter Carnival and 
the main prom of the Norwich Freshman Week. 
The band was enthusiastically received at both 
functions and indications are that the 'Dance- 
able Jazz' program will solidly catch on with 
the local college students. 

Ed Hall and George Wein presented a jazz 
concert at Jordan Hall on March 1st. Fea- 
tured stars were Wild Bill Davison, Frankie 
Newton, the Ed Hall Quartet, Al Morgan, 
Howie Gadboys, Ralph Ferrigno, and Ev 
Schwarz. 



NEW ORLEANS 

It was Mardi Gras time in the Crescent City 
and biggest kicks for jazz fans was watching 
Louis Armstrong lead the Zulu parade as king 
of the Zulus. It was really the King returning 
to his hometown with great music to keep 
happy feet marching. Other good news was 
the group of local cats who won the Horace 
Heidt amateur show before thousands of people 
as the Dixieland Jamboree band. Real gone. 



OVERSEAS 

The Danish Hot Club offers to tell any and all 
correspondents about Its activities, which have 
been considerable. Contact Hans Jorgen Peder- 
son, 22 Byagervej, Virum, Denmark. The Bel- 
gian cats have been active of late with con- 
certs featuring Bill Coleman and Don Byas. 
They are planning a jazz festival for next sum- 
mer and plan to import one of our better 
groups. Carlos de Radzitzky has been running 
a weekly radio show in Brussels featuring 
Oliver-to-Bop on records. Biggest demand 
though seems to be for Bop. The same group 
which played the Belgian concert traveled 
across Europe to play a date in Switzerland. 
They're jumping over there. Just received is a 
splendid little magazine from Japan published 
by the Hot Club of Japan. Features articles 
about Goodman, Bunk, Wilber, Watters, Bop, 
and Panassie. Real fine book. If you read 
Japanese, that is. One of the world's finest 
jazz magazines is being turned out monthly in 
England by Sinclair Traill and Tom Cundall. 
The Jazz Journal is a highly superior, large- 
format monthly and is a discographer's delight. 
Sub runs $4.50 — through the Changer, of course. 





the record 
changer 



April 1949 



Vol. 8, No. 4 



Editor-Publisher 
BILL GRAUER, JR. 



Managing Editor 
ORRIN KEEPNEWS 



Production 
JANE GRAUER 



Art Staff 
GENE DEITCH— Cover & Cat 
PAUL BACON— Design & Typography 


West Coast Representative 
JACK LEWERKE 
11800 Wilshire Blvd., Los Angeles 


25, Calif. 


CONTENTS 




Lester Younq 


Ross Russell 


A 


Ragtime and Jelly Roll 


Kay C. Thompson 


« 
o 


In Reply to Charles 






Delaunay 


Rudi Blesh 


9 


The Castle Jazz Band 


Peter Drew 


10 


Phono Pickups 


Alan D. Dare 


1 I 


Good and Rare 


Joe and Cecile Madison 


12 


The Cat 


Gene Deitch 


12 


The Fabulous Collection 


Albert Otto 


13 


Mahalia Jackson 


Bucklin Moon 


15 


Beneath the Cobwebs 


Carl Kendziora 


16 


Records Noted 


George Avakian 
Bucklin Moon 
Paul Bacon 


17 


78-33-45 Skidoo 


Edward Hill 


19 


Packages 


Gene Deitch 


20 


Tiger Rag 


Joe Madison 


21 


Record Exchange Section 

] 


25 



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Copyright 1949 By Changer Publications, Inc. 



let that 
foul air out 



Dear Mr. Delaunay : 

Since my one sin, that of an unfavorable 
review of the revised Hot Discography, 
seems to have landed me in the middle of a 
battle royal in which I have very little inter- 
est, I shall be more careful in the future. I 
shall also recommend this course of action 
to you, Mr. Delaunay, since later explora- 
tions into your discography have turned up 
fully as many errors, omissions, and care- 
less slips as I turned up in ten or fifteen 
minutes' spadework for my review. 

No, Mr. Delaunay, I made no plea for a 
bigger and better Index to Jazz. In all sin- 
cerity my only hope was for a better, not 
bigger, Hot Discography. My fan mail, 
never to be reckoned with in the past, has 
grown by leaps and bounds since that re- 
view (and all on the plus side) so others 
seem to agree that I was objective in my 
criticism. 

Why did I not aid and abet in the gather- 
ing of material ? Well, I wasn't asked and as 
a matter of fact I did not know that such 
a project was in the making, while it was 
still in the making. If there is another edi- 
tion I would welcome that opportunity. But 
I'm afraid that in the meantime I shall have 
to keep on using my four battered volumes 
of the Index, for without a seeing eye dog 
I can't seem to find my way around in your 
complex tome. 

Bucklin Moon 

Editor : 

The article on Ward Pinkett in the re- 
cent Record Changer was more than usually 
interesting to me, due to the fact that he 
was a native of Newport News. I found 
that his mother and sister were still living 
here and visited their home. It was rather 
coincidental that I had used Morton's Pon- 
chatrain, with Pinkett, on my "Dr. Jazz" 
broadcast the previous Saturday. 

His sister mentioned to me that Ward 
Pinkett "worshipped" Armstrong and Mor- 
ton; she also mentioned that McCarthy was 
quite correct when he blamed Pinkett's in- 
temperate habits for his early death. The 
sister, Miss Loretta Pinkett, a musician and 
band leader herself, had several of her 
brother's records, including Morton's Kansas 
City Stomps/Boogaboo, I'm Looking for a 
Little Bluebird/ Mushmouth Shuffle, the 
Jungle Band (Chick Webb), Dog Bottom/ 
Jungle Mama, Joe Steele's Top and Bottom/ 
Coalyard Shuffle, and Oliver's Stop Crying/ 
Papa De-Da-Da. 

Sincerely, 
Dr. Alexander T. Wiatt, 

Newport News, Va. 

Editor : 

This letter should probably be started 
with, "Mr. Anthony, I have a problem." Or 
maybe it should read, "Mr. Anthony, all 
record collectors have a problem." The prob- 
lem is to get some authority to set a stand- 
ard practice concerning the receiving of 
broken records through the mail or by R. R. 
Express. 

The shipping company isn't always to 
blame, although they do their share in 
tossing parcels around. The shipper is more 
often to blame — he does not pack the records 
with heavy enough packing or else he neg- 
lects to place warning stickers on the 
outer box. 

(Continued on Page 22) 



6 



ROSS RUSSELL 





The shadows of three great jazz musi- 
cians lie heavily over the contemporary 
scene. They are Dizzy Gillespie, Lester 
Young and Charlie Parker. In our recent 
examination of bebop brass instrumentation 
it was shown how the modern style had 
evolved along a line of great trumpet players 
from Louis Armstrong to Roy Eldridge, 
emerging in the bebop idiom with the as- 
cendancy of Dizzy Gillespie. In that article 
certain references were made to Lester 
Young, whose tone and phrasing, even 
though on saxophone, were studied and 
adapted to brass instruments by the earlier 
boppers. 

When we come to examine bebop reed in- 
strumentation we find the influence of Les- 
ter Young even more dominant. In fact, 
modern reed playing stems almost solely 
from "Pres," the most revered of the swing 
musicians. 

The new individual voices of Swing — 
Goodman, Wilson, Eldridge — had brought 
about an improvement of technique, sophis- 
tication, refinement and involvement of line. 
Teddy Wilson had refined the punching 
orchestral piano of Hines ; Eldridge elabo- 
rated the fantastic style of the later Arm- 
strong period. Benny Goodman was a clar- 
inetist who phrased in the Chicago tradition 
of Noone and Tesschmaker, but he went 
far beyond his models in musicianship. 

Great changes had come to be associated 
with these musicians but they had not 
actually introduced a new way of playing 
jazz. The challenge sounded by Lester 
Young marks a division point in jazz his- 
tory. Most of the critics and musicians of 
the past fifteen years fall into two groups : 
the traditionalists who hold with the old 
models — the classic jazz of Armstrong, 
Hawkins and Goodman ; and the "moderns" 
who have followed the path of Lester 
Young, Dizzy Gillespie and Charlie Parker. 
An understanding of this schism will sim- 
plify the appraisal, not only of music, but 



jazz criticism since 1935. 

Like Wilson and Eldridge, Lester Young 
represents virtuosity, harmonic maturity, 
delicacy and complexity. But these qualities 
are not acquisitions with Young — they are 
integral in his playing. He is the first to 
make a clean break with the past and create 
a style which is actually unique. With 
Morton, Armstrong and Parker, figures that 
loom in their respective eras, Lester Young 
is one of the four chief innovators of jazz. 
A musician of less stature than Armstrong, 
Young is none the less comparable to Louis 
in historical importance. 

Lester was the first to junk the machine- 




gun style of Hawkins, with its reliance on 
eighth note-dotted sixteenth patterns. This is 
the phrasing method of Sedric, Berry, Web- 
ster, Wilson, and Young's Basie section 
mate, Hershal Evans. Lester used more notes 
and less notes than his predecessors, but 
abundances were balanced against bareness 
within the structure of his solos. 

In his solo on Lady be Good (small band 
version), Young employs a bare ten notes 
for the first four-bar section. A classic 
stylist would have doubled the amount. 
These ten notes are set with lapidarian skill 
m the rhythmic and melodic framework. 
The opening phrase, so succinctly stated, 
leads to longer and complex improvisations 
upon the melody, the whole of which is a 
masterpiece of economy, subtlety and logic. 

Lester's musical thought flowed, not 
within the accepted confines of two or four- 
bar sections, but more freely. He thought in 
terms of a new melodic line that submitted 
only to the harmony of the original as it 
reworked the melody into something fresh 
and personal. 

Harmonic sense that enables a jazzman to 
improvise readily is a talent. Melodic vision 
of Young's quality is a mark of genius. 
His example and that of the Basie band 
restored to the jazz language a tool which 
had been dulled by improper usage. 

Lester Young's chord and bar changes 
are arranged with such adroitness that the 
listener is frequently not aware of them 
until after they have fallen. Lester's method 
is to phrase ahead — to prepare for and 
gracefully lead to into the next change sev- 
eral beats before its arrival. To be able to 
move so freely, in and out of the harmonies 
with an ear so keen and a step so sure, to 
always come out on the right note and the 
right beat — this is a mark of genius. Jazz 
had known nothing like it since the first 
daring improvisations of Louis Armstrong. 

As an innovator of harmonic change 
Lester employed the light polychrome or- 





instrumentation 



LESTER YOUNG 



1 



THE 



PARENT 



STYLE 



chestral palette of the Debussyians. Lester's 
spirit was pleased by the sound of the sixth 
and ninth intervals- which lie adjacent the 
dominant and tonic notes. It was typical of 
his subtle and inquiring nature to play just 
off what the ear expected and thereby ex- 
tend musical structure on a horizontal plane. 

Lester added variety to the melodic line, 
but he knew well how to balance the parts. 
He is complex, but he is never complicated. 
Wild crescendoes are contrasted with ham- 
mering repetitions, iridescent multi-note 
passages with sections where notes are 
massed like blocks. Short statements lead to 
long flowing sentences. Lester's solos are 
replete with dips and soaring flights, sur- 
prises, twists, hoarse shouts and bubbling 
laughter. The holes, and like Basie Lester 
leaves many, are deliberate and meaningful. 
The dry bite of the attacking notes, the 
fatness of the slurs and periods — all are 
parts of the deliberate style of a master 
virtuoso of the tenor saxophone. 

Like all of the giants, Lester possesses a 
tremendous beat. He is one of those rare 
musicians who can swing an entire band. 
The massive swing of the Basie orchestra 
became even more exciting when Lester 
soloed. Very often, when he had the first 
solo, as on Taxi War Dance, Young would 
divest the opening statements of all but 
their rhythmic elements. Here Lester under- 
lines the first and third beats, giving greater 
emphasis to Jo Jones' high hat accents, 
which fall on two and four. In rhythmic 
language this solo develops a 4/4, a 2/4 and 
a 1/3 pattern simultaneously and results in 
rhythmic complexity that goes beyond that 
of any contemporary. No one before him, 
neither Armstrong, nor Morton, nor Haw- 
kins, had created melodic line as rich in 
rhythmic interest as did Lester Young. 

New Orleans bands achieved this rhyth- 
mic complexity collectively. The quality de- 
teriorated during the following period when 
jazz emphasized romantic and individualistic 
tendencies. Lester Young, the arch-romantic, 
recreates this quality in an individual style. 

Lester's insistence on the rhythmic priori- 
ties of jazz came as a tonic to a music 
which was drifting away from the drive of 
■early New Orleans music. Lester did more 
than reaffirm these priorities. He replen- 
ished the stream polluted by the arrangers 
and thus made possible the even more com- 



plex rhythmic developments of the bebop 
style. 

Lester Young's work falls into two 
periods : 

(1) 1935-40, when he was featured with 
Basie and recorded with the parent band, 
and with Teddy Wilson, Benny Goodman 
and Billy Holiday. 



The Lester Young style is essentially ro- 
mantic. It is uninhibited and. relaxed, sensi- 
tive, imaginative, deeply subjective. It is the 
very intimate communication of an artist 
who was voicing the ideas of the day in a 
language of the next decade. 

Lester always sounds spontaneous. Less 
disciplined than Hawkins, he is none the 




The Basie Band at Its Peak PHOTO courtesy of otto hess 



(2) 1940 to the present, during which 
time he has concentrated mainly on concert 
and small band work. 

During the first period Lester's playing 
is notable for its freshness and abandon. 
Lack of inhibition does not mean that Les- 
ter was nervous or frenzied. He is the most 
relaxed of musicians. His notes flowed like 
water out of a tap and the source showed 
no signs of depletion. 

Lester's detachment was unshakable. He 
always seemed to be in a world of his own. 
Heard in person, in the midst of the happy 
jungle of Basie's orchestral sound, or on 
record, Lester gave the impression of im- 
passioned absorption. On records his solos 
glow with a radiance which is like the light 
from another planet. In the parlance of the 
times, he was "out of this world." 



less a musician whose product is orderly 
and structural. But these qualities — balance 
and unity of parts, clarity of concept — lie 
beneath the surface, under the luminous 
texture of notes. 

When Lester first appeared on the jazz 
scene he had command of a completely in- 
tegrated style which has undergone little 
or no change since 1935. It was as if he 
had been planning a frontal attack on ortho- 
doxy for years. 

The roots of Lester's style extend in 
many directions. On one side they are in- 
disputably in the reed tradition of the early 
clarinetists who emphasized the melodic and 
lyrical qualities of jazz and thought in terms 
of the blues scale. Indeed, the Kansas City 
style speaks the language of the New Or- 
(Continued on Page 20) 



8 



KAY C. THOMPSON 



and 



JELLY ROLL 



The revival of interest in early Ragtime 
coincides with the virtual re-discovery of 
Jelly Roll Morton by what amounts to a 
whole new generation of record collectors 
and serious jazz lovers, to say nothing of 
the musicians themselves. This is a most 
appropriate occurrence, especially since the 
influence of Ragtime upon Jelly has never 
received the attention it clearly merits. In- 
deed, until this connection is more fully 
appreciated, Jelly's ultimate contribution to 
the music of his time cannot be satisfactorily 
appraised. 

Jelly's greatest achievement was not that 
he originated, as so many latter-day ad- 
mirers would have us believe, what has been 
so frequently, and erroneously, described 
as "left-hand" piano. On the contrary, Jelly's 
significance derives from the far more im- 
portant fact that the tradition of fine piano 
was preserved, at times, almost solely by his 
example. And, in addition to maintaining an 
already-established tradition, he enriched it 
substantially, most notably by his composi- 
tions, during a period in which some of the 
best features of early rags and blues were 
achieving fusion. From this union there fol- 
lowed, of course, the classic jazz of the 
1920's. 

The tradition of fine piano of which I 
speak is distinguished by a fundamentally 
orchestral, ensemble conception of the in- 
strument. This fact should make it apparent 
that the "left-handed" description of Jelly's 
style is precisely that : a flagrant misnomer. 
Actually, fine piano of the type that Jelly 
personified was neither left-handed, nor, 
fortunately, only right-handed. In plain Eng- 
lish, stripped of all hep talk, it was strictly 
two-handed, both in conception and in ex- 
ecution. The confusion that has enveloped 
the matter has resulted, no doubt, from the 
fact that development in the left hand, so 
prominent a feature of Jelly's execution, is 
noticeable in contemporary pianists chiefly 
by its absence. 

At this point, perhaps I ought to make 
it clear that, in emphasizing Jelly's unique 
contribution to his time, I have no intention 




to detract in any way from Jelly's rightful 
claim to a special niche in the Jazz Hall of 
Fame. Jelly did not enjoy in later years the 
full popular recognition to which his talents 
entitled him (but he would certainly have 
rejected any acclaim by the bobby sox fringe 
among traditionally-minded jazz devotees.) 

For a fuller understanding of the piano 
tradition, of which Jelly was a principal 
practitioner and our connection with an 
illustrious and vital past, we must briefly 
consider the somewhat obscure origins of 
that tradition. The orchestral conception of 
piano was a development that accompanied 
the evolution of Ragtime music, and is not 
to be found in the early Blues. 

Unlike the Blues, the history of Ragtime 
has been almost wholly neglected in the 
usual jazz chronicles. The Blues, if any- 
thing, have been over-documented, in some 
phases out of all proportion to their musical 
worth, certainly from the viewpoint of any- 
one concerned with the origins of jazz. For 
the Blues constitute only one of the two 
main sources of material entering into the 
total picture and it is quite possible, even 
likely, that time may prove them to be the 
lesser of the two. 

But the fact that little research has been 
conducted on the origins of early Ragtime 



does not mean that we cannot draw some 
obvious' conclusions as to the influence of 
rags upon the style of Jelly Roll. After all, 
if only incompletely, we have before us the 
evidence of the music itself, the original 
sheet music published at the time. From 
such sources a considerable amount of useful 
information may be gleaned, by observing 
the state of notation, the maturity of the 
musical ideas, and the musical instructions — 
often quite specific, as well as any possible 
prefatory comments indicating the com- 
poser's intentions. 

Thus, while the library cupboards may be 
bare, there is sufficient sheet music for our 
present purposes. From the evidence at hand, 
it may be stated that the development of 
Ragtime music, which is to say Ragtime 
piano, represented nothing more than an ex- 
tension, or enlargement, of earlier banjo 
techniques. It was, in fact, the adaptation of 
several banjo parts, scored for an instru- 
ment of larger musical dimensions. The 
"stride," for example, a term frequently 
used to denote Jelly's treatment of musical 
material with the left hand, thus is revealed 
as — in concept — the employment of two 
piano parts by the left hand. Under this 
scheme of things, the left hand carried the 
rhythmic parts and the right hand one or 
more melodic parts, in the manner of a trio 
or quartet, this being the maximum number 
regarded as feasible. Of necessity, to be 
ensemble, the right hand was compelled to 
know what the left hand was doing, and 
vice-versa, from which it follows that fine 
piano in the true orchestral tradition calls 
for a higher order of musicianship than 
most pianists seem to possess, which may 
explain why we hear it played so rarely. 

Initially, the efforts in an orchestral di- 
rection were essentially imitative. This may 
be detected, at least superficially, in the not 
unpleasing "plinky" quality, reminiscent of 
the banjo, surviving in certain passages of 
ragtime compositions. However, as greater 
experience was acquired, as the possibilities 
were more fully explored in terms of other 
(Continued on Page 23) 



IN REPLY TO 




charles delaunay 



I read Mr. Charles Delaunay's article 
in the last Changer, entitled "An At- 
tack on Critical Jabberwocky," with a 
certain feeling of weariness. For I am 
a little weary of defending a record of 
activity on behalf of jazz and its play- 
ers that, on the very face of it, requires 
no defense. I am weary of attacks that, 
although veiled with varying degrees 
of cleverness, are really personal at- 
tacks upon me that spring from petu- 
lance, ill will and envy. 

The ironic element in Delaunay's 
outburst is that, offended by Bucklin 
Moon's adverse criticism of his New 
Hot Discography, he vented his wrath 
on me rather than on Mr. Moon, who 
comes off with only two paragraphs of 
mild reproof. The irony is this : in the 
December issue of Music Notes, a 
periodical of book reviews published 
by the Library of Congress, I wrote a 
favorable review of the Discography. 
This I did because, while aware of the 
book's shortcomings for use by expert 
collectors, I felt that it should be avail- 
able in libraries for the novices. 

Nevertheless, for reasons apparent 
to any unbiased reader, Delaunay 
chooses to launch a particularly vicious 
personal attack against me. Aside from 
a few minor points, the whole dirty 
matter can be disposed of as briefly as 
it deserves. 

One point concerns my analysis of 
New Orleans jazz as modern, which 
contrary to Delaunay's misstatement 
preceded by several years any similar 
claims for bebop. Delaunay confesses 
that this is jabberwocky to him, and 
thus furnishes, in his own words, a 
just estimate of his own critical equip- 



ment and basic powers of understand- 
ing. 

Delaunay next levels the fantastic 
charge of racism at me with the taunt 
that, having espoused the Negro as the 
greatest exponent of jazz, I must now 
accept inferior white players since no 
one else is playing New Orleans. I 
espouse all sincere players of jazz, re- 
gardless of color. Is this racism? In 
fact, I predicted in 1946, in Shining 
Trumpets, that white players would 
reactivate New Orleans jazz. Let me 
quote : "All of the jazz playing of 
younger white players ... is the real 
'second line' of jazz . . . Consciously 
or unconsciously, white men led most 
of the Negroes into deserting the music 
that had come from their hearts. . . . 
However, the white boys kept the jazz 
spirit alive until, today, some of the 
faithful Negroes are getting a fair 
chance to be heard again. None can 
deny that there is a poetic justice in 
this." 

Delaunay also cites his unsupported 
claim for the large numbers playing 
bop against the small number playing 
New Orleans. I don't know that this 
is true and, even if it is, mere numbers 
prove nothing about the relative value 
of two different kinds of music. Is 
quantity excellence? If it is, each of 
the fads in swing, jump and jive that 
preceded the present bop rage would 
have been the "ultimate modern 
music." Were they, Mr. Delaunay? In 
the whole long history of New Orleans 
jazz, there have been, in fact, many 
concurrent musical fads; all of the mo- 
ment. 

Another point that apparently drove 
Mr. Delaunay to his hysterical out- 



burst is my statement that, before their 
break, he was Panassie's faithful dis- 
ciple. For the record, on Delaunay's 
last trip to America, he sat in my New 
York apartment and proudly confirmed 
his allegiance to the famous French 
critic. Delaunay calls my statement 
rubbish. I am forced by the facts to 
call his either a deliberate untruth, or 
an unaccountable lapse of memory. 

The rest of Delaunay's discreditable 
performance is devoted mainly to an 
attack on my integrity. Let me say here 
that all of my activities in behalf of 
jazz — writing, broadcasting, lecturing 
and recording — are part of a complete 
program of activity devoted solely to 
the furtherance of the cause of good 
jazz. That each, and all, are uncom- 
promisingly sincere, is clearly evident. 
Mr. Delaunay, I am both a promoter 
and critic, though not in the sense 
that you imply. I promote the interests 
of jazz and its players, and I write 
what is generally accepted throughout 
the world as advanced and constructive 
criticism. Perhaps, had these qualities, 
plus a generosity you do not seem to 
possess, permeated your own work, 
this whole regrettable incident would 
never have occurred. 

I look on the recording being done 
by my associates and myself as a per- 
manent artistic achievement that will 
stand on its own merits long after these 
personal controversies and the persons 
who actuate them are gone. And I am 
quite willing to let any one of our 
phonograph records stand up for com- 
parison with the ceaseless reams of the 
musical bookkeeping called discog- 
raphy. 



10 



the 



JAZZ 
IN 

OREGON 



castle jazz band 



peter drew 




The tunes were Ostrich Walk and Jazz 
Band Ball, the date was March 28, 1944, 
and the place was a fairly unlikely one for 
such righteous jazz: Portland, Oregon. Four 
of the men on the record were Monte Bal- 
lou, guitar ; Bill Pavia, clarinet ; Bob John- 
son, piano ; and Axel Tyle, drums. The 
record, a private issue of which only 200 
copies were pressed, is now a collectors' 
item. It was the first waxing by the nucleus 
of what is now one of the most exciting of 
the handful of bands keeping traditional 
jazz very much, alive in fairly unlikely spots 
all over the country — the Castle Jazz Band. 

None of us needs to be told how tough a 
job it is to form and maintain a non-com- 
mercial band, faithful to the spirit of the 
original traditions of jazz. The Castle outfit 
had an even harder-than-usual time of it ; 
born in the war years, it was hard-pressed 
to gather suitable musicians for even occa- 
sional sessions, let alone think in terms of 
building a unified, consistent band. Undoubt- 



edly the Castle band survives only because 
it was the idea of a man who wouldn't quit 
on his ambition. Monte Ballou, guitarist, 
authority on New Orleans jazz, and a noted 
collector (he's the owner of an Oliver Zulu 
Ball, on Gennett, among other things) 
knew what kind of music he wanted : he had 
no intention of stopping anywhere short of 
a band capable of "two-beat" rhythm, good 
solos, and — above all — an ensemble that 
rocks. 

Anyone who has heard the often-rough, 
always-exciting Castle records knows that 
Ballou is getting close to what he wants. 

Monte, with Pavia, Johnson and Tyle, 
had played at Portland night spots, most 
notably doing a weekly stint at The Castle 
in 1944, which is when they began to think 
of themselves as the Castle Jazz Band. It 
was mostly a matter of jam sessions in 
those war-dislocated days, and the playing 
was strictly jam — but always in the New 
Orleans vein. 




After the Castle job, the boys scattered. 
It wasn't until early 1947 that they got to- 
gether again. This time Ballou, Tyle and 
Pavia were joined by Bob Short, who plays 
slide and valve trombone, and cornet, but 
who is primarily a master of the tuba. 
Pianist Larry DuFresne and Don Kinch — 
a trumpet who Pavia calls a "re-incarnation 
of Bix" — were the next additions, and it 
was at about this time that Ballou made 
the significant switch from guitar to banjo. 
Their set-up was still far from perfect ; the 
players held conflicting jobs, still could get 
together only for sessions. It wasn't until 
the release of Or'y's Creole Trombone/ 
Georgia Camp Meeting (HF 6, 7), during 
the recording ban, that they came to the 
attention of any jazz fans other than a lim- 
ited following in the Portland area. 

On that recording George Bruns made 
his first appearance with the band. The coin- 
cidence is significant ; Bruns is reminiscent 
of George Brunis in the power of his trom- 
bone style as well as in his name. 

This past summer five of the group, in- 
cluding the present clarinetist, a spirited 
and driving jazzman named Bob Gilbert, 
gave Sunday afternoon concerts at Port- 
land's leading amusement center — Jantzen 
Beach Park. Ballou called this his "Spasm 
Band," and they played pure Dixieland until 
the Fall floods prematurely ended the sea- 
son. At present the band is playing weekly 
sessions to capacity crowds at Portland's 
Rathskeller Cafe. Without benefit of back- 
ing or promotion they have built up a strong 
following, and are doing more recording 
work, coming continually closer to achieving 
Ballou's constant ambition. 

Kinch's Bix-like horn, DuFresne's in- 
creasingly barrelhouse piano, and the lead- 
er's rock-bottom rhythm and enthusiasm 
(Ballou is reputed to break more strings 
per session than any other banjo player in 
the business) are all serving to keep the 
fundamentals of jazz alive — and appreciated 
— two thousand-odd miles and thirty-odd 
years from New Orleans. 



11 



In the years that I have been collecting 
records, I have continually been confronted 
with conflicting arguments pertaining to the 
causes of record wear and the relative 
merits of various types of equipment, pick- 
ups, and needles in minimizing wear. To 
arrive at a conclusion with which there 
could be no argument and which, inci- 
dentally, would most benefit my own col- 
lection, I conducted a little research into 
the subject, with the following results : 

Record wear is caused by the friction gen- 
erated between the needle and the walls of 
the grooves in the record. Therefore, a 
stylus with a hard, highly polished surface 
is required to reduce this friction to a mini- 



THE RELATION OF 



PHONO-PICKUPS 



TO RECORD WEAR 



Electric, the pressure can sometimes be re- 
duced still farther. 

This has been accomplished in this new 
magnetic pickup (in contrast to the ex- 
tremely heavy magnetic pickups associated 
with the early days of electrical reproduc- 
tion) by making the mechanical parts ex- 
tremely simple and tiny and then bringing 
the output-voltage up to the required 4evel 
through the use of a one-tube pre-amplifier 
inserted between the pickup arm and the 
audio-amplifier. I know of one specific in- 
stance in -which an acetate dub was played 
over a thousand times with this cartridge 
and showed no audible evidence of wear. 
Its frequency response is much wider than 



by ALAN D. 



making it impossible to remedy the fault 
without ruining the fidelity of reproduction 
through the elimination of the higher fre- 
quencies. In the case of the G. E. cartridge, 
there is also no audible response to vertical 
movements of the stylus. This does a lot to 
eliminate any surface noise caused by dirt 
and imperfections in the grooves without 
any loss of fidelity. 

In answer to those who object to the 
"permanent" type stylus because of replace- 
ment problems, it has been brought to my 
attention that on the newer models of the 
G. E. product the jewel can be replaced by 
your radio-phono service man without the 
necessity of purchasing a new cartridge or 



with technical advice 
by c. s. woodworth, iv 




mum. The diamond, since it is the hardest, 
takes the highest polish, and is the most 
resistant to chipping, is, naturally, the first 
choice, but the natural saphire takes the 
honors as the most popular since the high 
cost of a diamond takes it out of the reach 
of most collectors' pocketbooks. 

Another point to consider is the resistance 
of the stylus and cartridge parts to me- 
chanical movement ; that is, the amount of 
pressure against the walls of the grooves 
that it takes to make the stylus vibrate. 
The acoustical, as well as the early electrical 
pickups, offered so much resistance that a 
pickup weight of several ounces was re- 
quired to prevent the stylus from climbing 
the sides of the groove. This resistance to 
mechanical movement has, on the best of 
the crystal cartridges, been reduced to a 
point where barely an ounce of stylus pres- 
sure is necessary, and, in the case of the 
new variable reluctance (magnetic) car- 
tridges now being produced by General 



that of the average crystal and shows a 
response beyond ten-thousand cycles per 
second ; this greatly improves the fidelity of 
reproduction, which is then limited only by 
the quality of your amplifier and loud 
speaker. 

The "built-in" stylus shows an appreciable 
advantage over the replaceable needle 
(whether it be a jewel, precious metal, or 
steel point) since the former eliminates most 
of the "needle talk" that is so noticeable if, 
with the standard needle, the amplifier vol- 
ume is turned off. Much of this "chatter" 
is caused by the fact that the shaft of the 
needle resonates at the same frequency as 
the higher frequencies of the recording. 
Since, with the "built-in" point, on the G. E. 
cartridge at least, the sapphire is suspended 
on a tiny spring between the two poles of 
the magnet and has no shaft, this objection 
is eliminated. This resonating of the shaft 
is also responsible for much of the surface 
noise that you hear through your speaker, 



of sending it to the factory for renewal. 

Some record wear is, of course, the result 
of archaic methods of record manufacture, 
such as the use of abrasives in the shellac. 
These abrasives were originally used to wear 
the points of the early steel needles to fit 
the grooves of the records, this process tak- 
ing place during the first few turns so that 
the point was automatically "tailored" to the 
grooves for the balance of the record. 
Abrasives are still used in record manufac- 
ture, mainly to accommodate the few remain- 
ing die-hards who persist in playing their 
records with the out-moded single-play steel 
needles. 

All of which brings us to the conclusion 
that the secret of eliminating record wear 
lies in finding a pickup with a minimum of 
mechanical resistance to stylus movement 
and possessing a "built-in" jewel stylus. 

I hope that these findings will help to put 
collectors on the road to longer record wear. 



12 



by joe and cecile madison 




n d there 



A small, select group of about a hundred 
and fifty collectors gathered at our 
house a few weeks ago. Two of them 
got a strangle-hold on the double turntable 
in the den, another used the Meisner re- 
corder, and still a fourth confiscated the 
kids' phonograph. With the domicile bulg- 
ing at its seams, a wild-eyed bunch of neigh- 
bors forming a posse outside our door, the 
kids doing picket duty, and four different 
records playing at the same time, it was 
only natural that a friendly debate should 
ensue. 

Somebody said it first. In all innocence, 
we believe, a quiet little gentleman said in 
a loud voice : "Maybe somebody here can 
tell me. What is Jazz?" 

Of course the question led to various 
complications and still more various interpre- 
tations. It will be a strange day when a 



group of collectors can meet and agree, not 
only on the meaning of Jazz, but on the 
worth of a particular disc. 

We find this same situation not only in our 
own home, but in all of the jazz-conscious 
countries of the world. Many foreign cor- 
respondents write us : "Boy, are you in for 
a treat ! After listening to our jazz you'll 
be crazy if you don't sell your Armstrongs 
and Olivers." Their records arrive, we drool 
in anticipation, and with trembling fingers 
place them gently on the turntable. Then 
we drink the bitter dregs of disappointment, 
as we find trouble in recommending even 
one to your attention. 

On the other hand, the Latin Americans 
usually write : "Our jazz is terrible. Send us 
some Morton re-issues. You'll know how 
jazz-starved we are when you receive our 
records." We haven't sold our Armstrongs 



[TH£ CM""] 




"I have played examples of Authentic Aframerican Vocalized Instrumentation, 
Polyphonic Improvisation, Dissonant Harmony as expressed in river chants, undulat- 
ing pitch of street cries, and the complex church rhythms which led to the develop- 
ment of jazz. Now this next record is really a bitch. . . ." 



or Olivers, but we sure want more of that 
"terrible" music. 

Through his tears and against his better 
judgment, Juan Grezzi of Uruguay was per- 
suaded to send us Menendez Pasquet's Dix- 
ieland Orchestra doing Dixieland Ballad/ 
La Bruia En La Escoba on Son d'Or 5074. 
If you can, get a copy. We say it's good! 

With an ardent apology, as though he 
were taking pennies from a blind man, Ed 
Silvestri of Argentina hastily packed up 
(before we could change our minds) Clari- 
net Marmalade by Hector Lagna Fietta's 
Jazz Orch. on Od. 45985. It's a larger 
group, with different breaks, but it will cause 
you to sit on the edge of your seat waiting 
for Larry Shields' clarinet. At least, we 
felt that the O.DJ.B. might be playing it 
that way today. We recommend it. 

New issues from Argentina : 
Lagna Fietta, Opus 2, Od. 23056 
Aleman Quintet, Beginning to See the 

Light, Od. 22313. 
Paul Reinoso, Buguiando, Od. 22414 
Cotton Pickers of Buenos Aires, Vi. 

60-1622 

Scandinavia has gone Dixieland this month 
with The Hep Bats Dixieland Band re- 
cording of Ballin' the Jack on Finland's 
Lavel label. This band is composed of play- 
ers eighteen years old and younger ; it's a 
Swedish group; and' it's said to be quite 
good. In Finland, Stig Ulemstrom's Dixie- 
land Band has also been recorded. 

New issues from Sweden : 

Svend Asmussen, Only Girl /When 

You're Smiling, Od. 5314 
Simon Brehms Orch., Blue Skies/Tea 

for Two, Tele. 9206 
Estrad All Stars, Cupolished/So Far 

So Good, Cupol 4138 
Leo Mathisen Orch., Makiri Whoopee/ 
Key's In, Sonora 673 • 
Our thanks to Bill Holyoak of Australia 
for a copy of Memphis No. 4, featuring 
the Southern Jazz Group. We are pleased 
to find the boys in excellent form on The 
Saints Go Marching In, which is on a par 
with their excellent versions of Southern 
March and Darktown Strutters on Memphis 
1 and 2. We can definitely recommend this 
record for your collection. You'll also find 
the reverse side, Dr. Jazz, exceptionally 
good. 

If you're after a few items to give you 
a quick view of the jazz scene in Belgium, 
your best bet is Victory label, owned by 
ex-bandleader Jack Kluger. 

Olympia label, with 90% commercial re- 
leases, has managed a little jazz, with the 
Bob Shots' Ooop-Bop Sh'Bam on Olympia 
(Continued on Page 24") 



13 



the 




collection 



by albert s. otto 

from his ancient apparatus, wesley perry 
learned the early history of the phonograph 




Wlf } friend, this outfit sold for $200 back 
JY£ in 1910. You can have it today for 
one percent of the original cost — it's 
yours for just two bucks." 

The Santa Monica, California, junk 
dealer was a persistent salesman and Wes- 
ley Perry, a local resident, shortly found 
himself poorer by two dollars and richer 
(?) by one Edison cabinet model cylinder 
phonograph. 

That was back in 1936. Parting with two 
dollars involved a considerably more mo- 
mentous decision in those latter depression 
days than it does now, though not so much 
deliberation as the original purchase of the 
machine must have called for in 1910. But 
the original purchaser undoubtedly received 
a tone arm with the set. Perry did not. 

Feeling that he should have more than 
an outdated hunk of furniture in exchange 
for his sizable cash outlay, Perry set out 
on a search for the missing part. System- 
atically he scoured the second-hand stores 
and swap shops of Southern California. He 
encountered phonographs, gramophones and 
record players of every conceivable make 
and type — except a 1910 Edison cabinet 
model. 

Finally, in desperation, he wrote the Edi- 
son Company, but to no avail. Tone arms 
of that vintage, or for that matter any other 
ancient parts, were no longer stocked and 
just weren't to be had. 

This was a challenge Perry could not 
refuse. The search became almost an ob- 



session. But after nearly a year of search, 
he was on the verge of giving up in despair, 
when a letter arrived from the Edison 
Company. Eagerly Perry tore it open and 
read the almost unbelievable news that a 
brand new tone arm of the type he was 
seeking had been discovered in an old ware- 
house. Needless to say, Perry lost no time 
in ordering it, and before long was listening 
to the wax cylinder offerings of the early 
nineteen hundreds on his own complete 
Edison. 

That was the start of it. His search through 
countless junkeries had brought Wesley 
Perry into contact with hundreds of pieces 
of ancient playing apparatus, and he was 
beginning to become familiar with many of 
them. Prices were low in those days, and he 
soon began to accumulate a varied assort- 
ment of "old-timers." The cylinders fasci- 
nated him too, and he collected these avidly. 

As time went on, Perry began to do re- 
search on his hobby. He acquired quite a 
library of books on the subject, which 
turned out to have been approached in many 
different ways by many authors. An interest 
in records in general also developed, and 
today he has a collection of about fourteen 
thousand, of all types. Operatic records 
were his specialty at first, but he became 
interested in jazz in 1940 and now has many 
fine items in that line as well. 

Perry's collection of rare old machines 
now numbers about 25, the most famous of 
which is the 1895 National Gramophone, 



forerunner of the Victor Talking Machine. 
This is the model pictured in the famous 
"His Master's Voice" label. Perry rented 
the machine for a tidy sum to a motion 
picture studio, which used it in numerous 
scenes in the recent Bing Crosby film, The 
Emperor Walts. This was the first disc 
commercial machine, marketed by Emile 
Berliner, its inventor, and his partner, El- 
ridge R. Johnson. Berliner had previously 
experimented with disc machines for several 
years, producing a hand-cranked test outfit 
as early as 1887. According to Perry, Ber- 
liner is the real inventor or perfecter of the 
modern phonograph principle, for in addi- 
tion to being responsible for the change 
from cylinders to discs, he was the first to 
develop an adequate microphone. The micro- 
phones of the Edison machines which pre- 
ceded his were extremely crude. 

Elridge R. Johnson was an excellent me- 
chanic, and it was his idea to utilize a 
spring motor, operating on the clock- 
works principle, in connection with Ber- 
liner's disc unit. This was an important 
forward step, eliminating the necessity of 
rotating the turntable by hand cranking. In 
1895 Johnson became Berliner's partner and 
the two patented their machine under the 
firm name of National Gramophone Com- 
pany. The total output of their first year 
of operation was less than 25 machines, 
with a total gross volume of about five 
hundred dollars. 

The following year the partners made 



14 



another improvement by placing the spring, 
which had been on the outside of the box, 
inside, out of sight. Again the gross busi- 
ness ran to only five hundred dollars, and 
it remained about the same for several 
years. The company came close to folding 
up on more than one occasion. 

In 1897 a French artist named Francis 
Barraud saw a dog listening to an Edison 
Bell machine, and was inspired to paint the 
renowned picture, "His Master's Voice." 
When he attempted to sell the painting to 
the Edison firm, however, he was flatly 
turned down. But Berliner and Johnson's 
European representative had the National 
Gramophone substituted for the Edison 
machine, and National purchased the trade- 
mark for one hundred dollars. Today it is 
probably the most famous patent label on 
earth. 

Berliner and Johnson apparently had 
trouble in settling on brand names, for 
their various records over a period of sev- 
eral years bore the labels : Berliner, Elridge 
R. Johnson, Monarch, Monarch-Victor and 
Victor. The last, came about 1901, when the 
firm reorganized as the Victor Talking 
Machine Company. 

The new name apparently was a good 
luck charm, for business began to increase 
almost immediately. By 1905 the annual 
gross had swelled to \2 l A million dollars. 
European sales were primarily responsible, 
for in America the phonograph was still 
popularly referred to as "the squeak box." 

Yet it had been more than a quarter cen- 
tury since Thomas Edison invented the 
first practical sound reproducer. Back in 
1877 he had placed the immortal verse 
about Mary and her little lamb on a cylin- 
der. It was 1890, however, before Edison's 
machine was put into production. The first 
models were not sold for household use — 
that idea hadn't even been thought of. 
Street hawkers set up their outfits on busy 
thoroughfares, selling a "listen" for a penny 
or two per selection. The machine was 
strictly a novelty ; no speaker horn had as 
yet been developed, and it was possible for 
several persons to listen at the same time 
only by means of a number of ear tubes. 



Within a few years Edison was feeling 
the competition, not only of National, but 
of two other companies as well. Between 
1895 and 1900 the Columbia Graphophone 
began to appear in America, while in 
France, Pathe Freres were pioneering the 
field. During their period of existence, 
Pathe recorded more famous artists than 
any other company. By 1901 Pathe was 
producing double-sided discs, something 
which none of their competitors achieved 
before 1908. These early Pathe records were 
released in three editions — 8%, 11 and 16- 
inch discs — for various levels of volume. 
The playing time of each was identical, but 



The Columbia "Home Grand" 
Graphophone of 
1898-99, which sold 
originally for $100. 




the groove modulations varied in size to 
produce louder or softer tone. In 1908 this 
practice was eliminated, and the principle of 
sound control by cabinet doors adopted. 

The year 1908, according to Perry, also 
witnessed the birth of the first record 
changer. There are not many data available 
about this contraption, and it may never 
have got into production. The original 
model is now in the possession of a Holly- 
wood studio. It is an extremely compli- 
cated but ingenious affair, and it does work ! 
The principle is that of the ferris wheel, 
with twelve cylinders suspended so that each 
in turn slips into place and is played.- Big- 
gest disadvantage is that each cylinder has 
its own spring, and winding twelve springs 



is almost as much work as changing twelve 
records ! 

Speaking of cylinders, Perry reminds us 
that they are responsible for the use of 
the term "wax" in connection with the 
recording field. Many people have wondered 
how this expression came into use, since 
wax is not an ingredient of disc pressings. 
Cylinder recordings, however, were cut in 
soft wax, and the phrase "putting it on 
wax" has remained to this day. 

Wesley Perry, collector of cylinders, 
records, and what plays 'em, has a hobby 
that is surely both unusual and of historical 
value. It is through the interest and efifort 
of men like him tha.t the story of recorded 
sound will be preserved. 



The Edison "Pre-Horn" of 1893. Perry (left) and the writer are listening through double ear tubes. 




15 



mahalta jackson 




A GREAT GOSPEL SINGER 



bucklin moon 



The other day the publicity department of 
Apollo Records called and told me that 
Mahalia Jackson was in town, so I 
hopped the first thing rolling and got on 
over to the 65th Street apartment where she 
was staying with friends. Earlier, I had 
been trying to work out some way of inter- 
viewing Miss Jackson by letter — a series of 
questions and answers — but I was glad 
things worked out the way they did. It just 
isn't possible to get at the real personality 
of a person unless you can sit down with 
them and talk things out. 

Well, I climbed up the three flights of 
stairs and rang the bell and Mahalia 
greeted me warmly. She looks a lot like her 
pictures, but they give no hint of her won- 
derful personality. Words like direct, sin- 
cere and friendly come to mind, and she put 
me at ease at once. Earlier she had told 
Apollo that she didn't feel there was much 
of a story in her life and at the time I had 
thought she might prove shy, but on the 
way over I had picked up an advance copy 
of the Decca re-issue of one of her earliest 
records — on Coral, their new low priced 
label. To break the ice I asked her if she 
had heard it. 

"Heard it?" she said. "I didn't even know 
they were doing it. They never even told 
me about it. I don't want that record .out. 
It was made fifteen years ago and it's not 
very good." 

I played the record for her. As her voice 
came out of the machine she listened 
critically and I could see her shaking her 
head. 

"You know," she said, "I never got but 
twenty-five dollars for making that record ? 
And now I guess I won't get anything more 
when they sell it again. All they are doing 
is taking advantage of the success of my 
Apollo records. That sure doesn't seem to be 
fair." 

After both sides had been played once 
she asked if I would mind playing it again. 
I ventured to say that I liked the record, 
that though her voice was slightly higher 
and not as well recorded there was certainly 
no mistaking who it was. I tried to pin her 



down to the year it was made, but she was 
not certain. Fifteen years would have made 
it around 1934, but she thought it might 
have been as late as 1936. Then I put the 
record away and we got down to business. 

Knowing that some negroes look down 
on jazz, and that some who have gone from 
jazz into Church work have attempted to 
deny their past, I was a little hesitant about 
getting into the subject. But she assured me 
that she had no feelings against jazz, that 
it was a music and she liked every kind 
of music. Then she laughed. "Some people 
in the Church might not like my saying 
this, but it's the truth. As a matter of fact 
I'll tell you something. I learned to sing by 
listening to Bessie Smith records !" 

I told her that I had said, in reviewing 
her records, that hers was the greatest un- 
trained voice, with the possible exception of 
Bessie's, that I had ever heard. 

"Bessie was great, really great. I listened 
to a lot of others, Ethel Waters for ex- 
ample, but it was always Bessie that meant 
the most to me." 

We talked about how Ma Rainey had 
first heard Bessie singing in a church and 
had taken her into her tent show. I men- 
tioned Thomas Dorsay, so many of whose 
songs she sings, and she knew of his back- 
ground, that he had once been Ma Rainey's 
accompanist. I also pointed out that Bertha 
Idaho was now singing in the Church ex- 
clusively, after being one of the good blue 
singers of the late 'twenties. 

Mahalia Jackson smiled. "When I first 
came to Chicago from New Orleans, when 
I was about sixteen, Earl Hines heard me 
sing and wanted me to appear with his band. 
He was at the Grand Terrace then." 

"Mahalia," I asked, "with that kind of 
background why did you go into Church 
work instead of jazz?" 

"To tell you that I'd have to start at the 
very beginning. As I told you, I was born 
in New Orleans, in 1912. My mother came 
from a very religious background. Her 
father was a preacher and all on that side 
of my family, they had all been Church 
people a long way back. But my father's 



family had a theatrical background and from 
them I got any musical talent I may have. 
Daddy had a brother and sister and they 
were both singers. They were in vaudeville. 
They traveled on the same circuit as Butter- 
beans and Susie and they knew Bessie well. 

"Now, they wanted me to be a singer like 
they were. But my mother kept me away 
from them. She wouldn't let me see them 
if she could help it. She wanted me to be in 
the Church." 

I asked her if she remembered much 
about jazz in those days when she was 
growing up in the Crescent City. She told 
me that her mother would never let her go 
where it was played. I asked her if she had 
ever snuck out and listened anyway; smil- 
ingly, she said that she hadn't. It was ob- 
vious that she had been very fond of her 
mother. 

"I still heard some of it though," she 
went on. "I remember when Bessie Smith 
used to come to the Iberville Theatre I 
always went to hear her. Then a lot of times 
those people used to perform at the Church." 

She told me that often the Church needed 
money and would get some negro per- 
former with a "name" to give a benefit 
performance and that she heard a great 
deal of jazz in that way. I asked her for 
names. 

"I remember Louis, of course, and later 
when I went North and he heard my voice 
he told me if ever I wanted to sing with 
his band I could. I remember King Oliver, 
too. Those are the two I remember most." 

I mentioned Johnnny Dodds, Sam Mor- 
gan, Louis Dumaine, Bunk Johnson and a 
few others, but they were only names to 
her. It's a shame she had never heard 
Morgan ; I would have liked to have gotten 
her reaction to his music, which was cer- 
tainly close to the Church in feeling. Then 
I asked about Papa Celestin. 

"Papa Celestin, sure I remember him. He 
was very well known in New Orleans. Sure, 
I heard him play." 

Other names I mentioned had little mean- 
ing for Mahalia. Some of the singers — the 
blues singers in particular — she knew from 



16 



records, but she always came back to the 
name of Bessie. It was obvious that she 
had done more than merely listen to her 
records and then sing. It seemed clear that 
Bessie had been a great idol of hers. 

When she was sixteen, she had left New 
Orleans and had gone to live with an aunt 
in Chicago. I asked if the treatment of 
negroes in the South had caused her to 
leave and she said that it really hadn't, that 
she merely felt she could better herself and 
for this reason had come North. I asked if 
she still made personal appearances in the 
South. She said that she did, many of them. 
She mentioned that everyone always treated 
her fine, but that she would not like to live 
in the South. I let it drop at that. 

Mahalia told me that she had not ever 
had formal musical training. She learned 
all that she knows by listening to other 
singers, mostly on record. When she got to 
Chicago she had wanted to become a clas- 
sical singer, but there was no money for 
lessons and no one interested enough in her 
voice to provide the means. It was almost, 
she told me, as though she had two voices. 
Her outer voice, the one that she used most, 



BEHIND 




THE COBWEBS 



CARL KENDZIORA 

This is a new department of the Record 
Changer which is intended primarily for 
those collectors who like to delve back 
among the old jazz records and try to learn 
more about the obscure items for which no 
personnel and/or other facts are available. 

We do not profess to be expert and 
do not expect to state in this column that 
John Doe is without question on the Toledo 
Stamper's Embassy issue of Red Brick 
Stomp. We intend, rather, to act as middle- 
man or clearing house for the collectors 
who have either questions on jazz records 
or facts and opinions on them. We will 
throw in any facts or opinions we have, too, 
and will relay via the column all questions 
sent to this department. The same applies to 
the answers and opinions on groups or 
records that we hope readers will be send- 
ing in. 

We won't object to personal opinion, but 
would like you to state your sources for 
factual information, and to state when any- 
thing is merely your own opinion, no matter 
how well founded it may be. 

To get this thing rolling, let us throw a 
few obscure items your way. Up to the pub- 
lication of the New Hot Discography, the 
only listing given for the Red Norvo xylo- 



was the lower register ; the other voice, the 
one that she had hoped to develop, was at 
the upper end of her vocal range. 

"I remember," she said, "that I saved all 
my money to buy records. I bought the 
records of Roland Hayes, and especially 
those of Grace Moore and Lawrence Tib- 
bett. It was from them I learned diction, 
the correct way to breathe, and what little 
I know of technique." 

I mentioned that perhaps she was lucky, 
that singing the way she did her voice 
would last forever ; that had she gotten a 
teacher who did not know his business this 
ease might have been lost. Her voice has 
gotten deeper with the years, and anyone 
who hears it cannot help but feel its depth 
and richness. Sitting there I wondered what 
might have happened if she had found the 
proper teacher, how far she would really 
have gone. 

I asked if she ever had any regrets that 
she had not gone into professional singing 
instead of church work. She smiled at me 
and I could see the answer in her face. 

"No," she said, "I would always want to 
be in church work. I have had a tough time 



phone solos, Hole In the Wall/Knockin' On 
Wood (Br 6562) was that they are solos 
and were recorded April 8, 1933. The New 
HD lists Jimmy Dorsey (cl), Fulton Mc- 
Grath (p), Dick McDonough (g), and 
Artie Bernstein (b). Since this item has 
been rumored to be a Benny Goodman item 
for a long while, I included it in my Good- 
man Discography (Record Changer — April- 
October 1948). No contradictory opinion 
was received, but this New HD listing 
would seem correct. Any opinions? 

It seems fairly well established that BG 
is on the four sides cut sometime in No- 
vember, 1933, by Steve Washington and his 
Orchestra. Buf who else is on these four 
sides and on just what day in November 
were they recorded ? Titles are : Sing a 
Little Low Down Tune (??)/We Were 
the Best of Friends (??) on Vo 2598 and 
Blue River (B 14365 )/Love Me_ (B 14366) 
on Vo 2609. Note the two missing master 
numbers. Anyone know them ? 

Here's a real poser: Dixie Drag (1881) 
as by the Dixie Jazz Band on Je 5446 and 
Or 1396. The same master seems to have 
been used for the issue on Ba 6214 as by 
Mendello's Dance Orch. The copy of Ba 
6214 I saw had (1881-2), while my Or 1396 
is from the first take: (1881-1). This is 
obviously not a Goodman-Teagarden-Mc- 
Partland Whoopee Makers item but is good 
jazz. There are solos on piano, clarinet, cor- 
net, and trombone. Clarinet sounds a bit 
like it could be Pee Wee but that's just a 
wild guess. Same goes for the cornet which 
is good and sounds a bit like Wild Bill 
Davison. Anyone able to help out on this 
one? 

As a final item this month, let's try to 
straighten out the trumpeters on the 
Champion Mound City Blue Blowers series. 
There seem to have been five recording ses- 
sions by this group as follows : 

Nov. 8, 1935 (date No. 1) 
Red Sails in the Sunset (60137) . .Ch 40060 
I'm Sittin' High on a Hilltop 

(60138) Ch 40059 

On Treasure Island (60139) Ch 40060 

Thanks a Million (60140) Ch 40059 

Dec. 12, 1935 (date No. 2) 
Eeny Meeny Miney Mo (60219). .Ch 40073 
A Little Bit Independent (6022Q) .Ch 40073 
(Continued on Page 24) 




MAHALIA 

in the past. I've sung for nickels and dimes, 
and I never really earned any money until 
my Apollo records started to sell. When I 
made those Decca records they promised me 
great things if I would make some blues 
records. I wouldn't, and they cut me off and 
took on Sister Ros,etta Tharpe instead. Even 
if I had been willing to compromise a little 
they would have built me up, but I didn't 
want that. The important thing to me is 
that in the Church, the way I have chosen, 
I can reach the people. The money will take 
care of itself. So long as I can bring some- 
thing to people I'm satisfied. The Church 
has been my whole life and I have been 
repaid far more than I've given." 

I asked where she had sung, aside from 
churches. She mentioned that she had been 
asked to sing before the National Baptist 
Convention and how thrilled she had been. 
Another high point in her life had been 
singing in an Easter pageant at the Chicago 
Opera House on Easter Sunday of 1946. 
She had done much local radio work but 
had never appeared on a national hook up. 
Currently, she was appearing at various 
places in New York and had filled one of 
the larger uptown halls with some 3,500 
people. Many were turned away at the door. 
Apollo has already passed the million mark 
with her records, and once in a baseball 
park in Atlanta she had sung to 21,000 
people. 

When I got home I spent the evening 
playing over all the Mahalia Jackson sides 
and the more I play them the more con- 
vinced I am that they are everything I have 
ever said about them. Shortly after I had 
a letter from Bill Russell in which he men- 
tioned my review of the records : "Even Me 
is a pretty amazing record, I think. I'm not 
so sure that I wouldn't go you one better 
and say Mahalia has a better voice than 
Bessie. Of -course I've never heard M. in 
person, so it's difficult to compare her with 
Bessie, whom I heard several times." 

I'll go along with that. I've never heard 
her in person, either, but I have talked with 
people who have and they all say the same 
thing, that in front of a large audience she 
is even more moving than on records. Ma- 
halia Jackson has a voice that is peculiar to 
itself. I can think of no other that is close, 
save Bessie, and I think that Mahalia, in 
her medium, is perhaps even greater than 
Bessie in hers. I can think of no higher 
praise and I have a feeling Mahalia Jackson 
would think so, too. 



17 




GEORGE AVAKIAN 
BUCKLIN MOON 
PAUL BACON 



records 
noted 



Claude Boiling and His Hot Seven 

Riverside Blues 
Georgia Bo Bo 
Deepermouth Blues 
You Rascal You 
Blues in Disguise 

Nobody Knows the Way I Feel This 
Morning 

Someday, Jack, somebody is coming up 
with seven midgets from Luxembourg who 
learned how to play from a cylinder record 
by Buddy Bolden and His Boys, a hitherto 
unknown collector's item buried so far back 
of the Iron Curtain that it was actually 
found in front of it. Two centuries from 
that time an obscure student is going to 
unearth some old phonograph records in the 
attic of his great, great, great, great, grand- 
father — a character known around these 
parts as the Cat — and using them as research 
material produce a thesis for his Ph.D. 
Know what it's going to be called, Buster? 
Some observations on the amazing re- 
surgence of the French style of hot jazz -in 
the far away American city of New Or- 
leans, including the astonishing ability , of 
such performers as Louis Armstrong, 
Johnny Dodds, Jelly Roll Morton, Sidney 
Bechet, King Oliver and Kid Ory to com- 
pletely absorb the traditional style of the 
early French masters!!! 

All fooling aside, here's another entry 
from France, in the person of Claude Boil- 
ing and his Hot Seven. I'm a little pooped- 
out with trying to keep abreast of such 
goings-on, and my back is killing me but 
as they used to say when I was a youngster 
— hang on to. your fur caps, boys, here we 
go again. 

These six sides, part of Circle Sound's 
youth movement, and les enfants terrible 
who produced them, have already received 
the once-over-lightly in a previous issue of 
this magazine, so I won't go into it much 
further. Some of what was said at that time 
I agree with, but I must confess that 
with much of it I don't. It's true that every- 
one in this band is a real musician, especially 
Maxime Saury, soprano sax, and that they 
play with real authority. In this respect they 
are far superior to Claude Luter's band, 
with the possible exception of Luter him- 
self, but what comes out does not seem to 
me to have jelled sufficiently. When they 
are good, like the little girl with the curl, 
they are very, very good. But when they 
are bad, they are only so-so. 

It was said, for example, that all of these 
sides were based on Oliver- Morton and 
the Hot Five, and that M. Boiling's piano 
had passed through Waller and Earl Hines 
to the final formative stamp of Jelly Roll 



Morton. It is true that the write-up did 
mention certain mid-thirty Ellington nu- 
ances, but only as temporary. I must add 
that the boys must have listened to a few 
other people, and not always to their ad- 
vantage. I also suspect that Boiling has 
picked up a thing here and there from Teddy 
Wilson; and I hear very little Morton. 

Before making Blues in Disguise, for ex- 
ample, I'm sure the boys listened to all the 
Mezzrow-Bechet King Jazz sides. Even 
taking into consideration that the Blues is a 
Mezzrow composition, much of the same in- 
fluences are noticeable, to a lesser degree, 
on the other side — that fine old Nobody 
Knows the Way I Feel This Morning. And 
You Rascal, You is very similar , to the 
banal big-band Armstrong treatment of the 
same title. Georgia Bo Bo, though it has 
some very interesting moments, deteriorates 
towards the end into a bridge (which re- 
sembles nothing so much as the awful clap- 
trap that the band plays to bring oh >each 
new contestant at the Apollo Theatre's 
Amateur Night in Harlem). This leads into 
one of those endings more befitting a stage 
jam session led by you-know-who, where 
everybody — I mean everybody — gets into the 
act and if you get lost, son, just chord and 
blow like hell. 

But if the boys are guilty of some awful 
cliches, some undigested odds and ends, and 
a bit of overconfidence, they can also do 
some very nice things. Their Deepermouth 
Blues is a well over B-plus performance, 
and in the haunting Oliver Riverside Blues 
it seems to me they really ring the gong. 
Without copying the Oliver recording, yet 
always keeping within the feeling of it, they 
have produced something of real beauty and 
tenderness, and it has a haunting quality 
that has stayed with me for days. 

I'll admit these lads can play like hell. 
But they leave me a little cold ; there is 
little of the excitement of the Luters, that 
wonderful feeling of playing way over your 
head because you are in love with what you 
are doing. With the exception of bits here 
and there, and that one Oliver side, it comes 
from the head instead of the heart. But that 
one exception, the Riverside Blues, is worth 
twice the price of the album. (Circle S-18) 
(B.M.) 

The Paramount Re-Issues 

Now that the Paramount re-issue program 
is finally under way I'd like to say a few 
words in general about the whole plan. 
Here certainly is a break for collectors, for 
at least twelve records a year will be issued, 
so that in theory eventually all that is worth- 
while in the old Paramount catalogue will 
again be available. But the sad point here is 
that only those numbers for which there is 
a lasting demand will be kept in stock; the 
others will be gone once present pressings 
are exhausted 



It's certainly good to see that familiar old 
black and silver label again, and from the 
look of things the program is off to a good 
start. The records are sponsored by the 
original Paramount people and in many in- 
stances are made from original masters 
rather than dubbed ones. I can see the com- 
mercial appeal of listing the featured per- 
former, whether it is his band or not, but 
it might lead to difficulties. For example : 

Louis Armstrong and Fletcher Hender- 
son/Sammy Stewart 

Prince of Wails 
Copenhagen 

Historically the Prince of Wails side has 
great interest, for it presents Louis in that 
period after he left Oliver and before he 
really came into his own with the Hot Five 
and Seven records. This side was made 
somewhere in the 1924-25 period ; just when, 
as far as I can tell, is not known. By that 
time Louis had made some records with the 
Clarence Williams Blue Five, and some 
accompaniments, but I doubt if there were 
any Hot Fives before this recording. One 
wishes that there were more of Louis on 
this side ; he was on the date, all right, but 
if it's Armstrong that I hear he certainly 
plays more like Oliver than on any later 
sides. As for the rest of the band, it was 
one of the first to make any real nation- 
wide success and was, at this time, playing 
at New York's Roseland Ballroom. As if 
you didn't already know it. it was a damned 
good band ! 




18 



All I know about Sammy Stewart is that 
he was a Chicago violinist and played in 
and around the Middle West. Charles Ed- 
ward Smith, I hear, had a piece on Sammy 
and the band in one of the Esquire series, 
but I have not had a chance to set to it at 
the public library. It must have been a good 
band, for this record will stand up against 
any early big-band music I've heard. There 
is nice drive here and a good banjo at the 
end, also a baritone or bass sax played in 
a manner that makes it sound a lot like a 
tuba. As for the identity of the horn player, 
your guess is as good or better than mine. 
The tune is one of those old goodies, and 
both of these sides are of real historical 
significance. (Paramount 14003) (B.M.) 



Johnny Dodds with Richard M. Jones 
Jazz Wizards 

It's a Low Down Thing 
Hot and Ready 

Johnny Dodds supposedly made two ses- 
sions with this group, which featured Rich- 
ard M. Jones on piano, Honore Dutray on 
trombone, Baby Dodds on drums, and a 
trumpet player I have never heard of : 
Elisha Herbert. Of the two sides I much 
prefer Hot and Ready, though the other 
side is certainly not without interest. On 
both sides I seem to detect a saxophone not 
listed in any of the discographies. 

But the point here is that from the solo 
on It's a Low Down Thing I don't see how 
anyone could be certain it is Dodds. In the 
higher register, it comes through so dis- 
torted and wavery, evidently because of 
faulty recording, that it might be anyone. 
On the Hot and Ready side, which is mainly 
in the lower register, the clarinet comes 
through clearly enough. It sounds like 
Dodds, though far from the best Dodds, but 
even this is perhaps not enough. By now it 
seems pretty clear that on obscure items like 
this the only safe identification is by some- 
one on the date. Not that it matters a lot, 
for any way you look at it this is a good 
way to start out a re-issue series. It's not 
the best record I ever heard, and it has 
some annoying little mannerisms, but all- 
in-all it's something we would use a lot 
more of. In one place on the H & R side, 
by the way, there is a section that sounds a 
lot like one of Louie Hot 5 or 7 sides, but 
though it sounds familiar I didn't have the 
time to- track it down. (Paramount 14001) 
(B.M.) ■ 



Tommy Ladnier and Edmonia Henderson 

Lazy Daddy Blues 
Jelly Roll Blues 

The whole thing here is Tommy Ladnier's 
wonderful horn, but it seems to me that 
there must have been an easier way to get 
it than backing up Edmonia Henderson 
singing the blues. Offhand I can think of 
Ma Rainey or Ida Cox. I don't mean by 
this that Edmonia Henderson is awful, but 
rather that there are so many people much 
better that it seems a shame to put up with 
second-best when we could have had first as 
easily. Ladnier plays beautifully here, and 
of the two sides I found Jelly Roll Blues 
the easieF to take. Edmonia Henderson, for 
my money at least, is more of a popular 
singer than a blues singer, but, as I say, it's 
mighty good Ladnier. (Paramount 14002) 
(B.M.) 



McGhee-Navarro Boptet 

Double Talk (Pts. 1 & 2) 

The old cutting session as such is a thing 
of the past, but in its place comes a little 
thing called a chase, partly derived from the 
famous Dexter Gordon- Wardell Gray Dial 
record ; it involves much the same thing, 
actually, as the jazz battle idea, but there's 
a curious calm, old-school-tie diffidence 
about the way it's done these days. Nobody 
sashays up to the bandstand muttering : 
"Man, I'm gonna blow this guy off the 
stand," but the end result is the same, even 
if it's done with a gesture saying: "Well, 
top that, old chap." Cool jazz, this is. At 
least 40 half-hipped devotees will chuckle 




appreciatively at your every fluff, anyway, 
even if your face is stone-cold, your i'eet 
tap not a lick, and your horn is aimed de- 
murely at the floorboards. So a chase may 
include four or five men laconically linking 
four-bar phrases together, with a detach- 
ment wonderful to see, even though in their 
cool way they are carving each other to 
ribbons. And much can be said in four bars, 
enough to dishearten the hardiest egomaniac 
alive. 

What I haven't exactly been leading up to 
is the fact that, while it is fairly common 
to see two or more tenors chasing each 
other, a couple of trumpet players so dis- 
posed are a genuine rarity. We have such 
right here. Fats Navarro and Howard Mc- 
Ghee are two of the best, and they are in 
top form on this date, which also features 
the exceptionally tasty alto of Ernie Henry 
(buried and practically unheard in Dizzy's 
band) and the oddity of Milt Jackson's be- 
ing on piano. The best word to describe this 
record is "expert." McGhee and Navarro 
embroider each other's efforts with infinite 
skill, and to hear so much horn played on 
one disc, with so few lapses of technique 
or taste, is a real pleasure. Fats' tone is 
appropriately the fatter, but their styles, are 
surprisingly similar, sometimes fusing into 
one, with Henry's alto solo an excellent 
contrast in sound and conception. 

This is a hell of a good record, even for 
tenor lovers. (Blue Note 557) (P.B.) 

Errol Garner 

Fantasy on Frankie and Johnny 

Play Piano Play 

Blue Lou (Pts. I & 2) 

When a man reaches the delightful posi- 
tion wherein he pleases almost everyone, he 
is a man to be reckoned with, or with whom 
to reckon, and Errol is up there. There are 
precious few people who can't muster up a 



couple of valid reasons for liking him ; per- 
sonally, I can come up with quite a number. 
For one thing, I can't think of another guy, 
off hand, who is so completely the master 
of his own style. I'm not saying he's the 
master of the piano, or anything like that, 
but he has a style, and within it he is king. 
The force in his playing is unbelievable. 
He can play a dreamy ballad at a slow 
tempo, and before it's over it sounds like 
the -most inspired, suspenseful little jump 
tune in the world — not because he speeds 
up, but because he builds up a rhythmic 
tension, in his clean, scintillating way, that 
swings as much as any stomp. The word is 
ridiculous, but there's something wholesome 
about Garner, the same as there was about 
Fats Waller. The cocky, persistent way he 
lays off the beat makes the occasional spots 
when he catches up to it wonderfully satis- 
fying, and the lustrous sound he gets out of 
a piano is like the olive in a martini. I seem 
to be eulogizing, but there isn't a damn 
thing I'll take back. 

Only one side of Blue Lou is really worth 
while, and it's all Garner — Side Two, that 
is. There are four other men on the record, 
including Wardell Gray, but Wardell isn't 
in his best form here, and if he were he'd 
still have to take a back seat. He has all 
of Side One, does a pretty good job too, 
but it's when you turn it over that some- 
thing terrific happens. This is the best record 
Garner has made ! Three minutes of pure 
pleasure, four choruses of the most lilting, 
spontaneous piano I've ever heard. (Modern 
20-640) 

Frankie and Johnny is almost as good. It's 
a bit more premeditated than Blue Lou 
(which was recorded at a concert on the 
coast, apparently), with a crisp production 
intro leading into a lusty minor version 
of the old ballad, played with that patented 
swing. This is probably the way it was 
always meant to be done, too. While I'm on 
the subject, Play Piano Play is also good, 
the most familiar in feeling of the three 
sides, being a modern, simple riff developed 
to its nth degree. 

As a matter of fact, I think everyone 
should own these records ; they're plausible 
evidence that music is here to stay. (Dial 
1026) (P.B.) 

All-Star Group [Howard McGhee, War- 
dell Gray, Sonny Chris (Kriss), Etc. 

Groovin' High (Pts. I & 2) 

This is another Modern record, seemingly 
made at a concert (applause), and while 
there isn't anything on it as good as the 
Blue Lou, it comes off very well. In differ- 
ent company, Howard McGhee has been 
much more on the bop side than he is here ; 
he plays with quite a bit of fire and good 
ideas, sounding, for some reason, nearer 
1938 than '48. The influence may be Gray's 
— he is known as a bop tenor man, but I 
have rarely heard him get in the same 
groove as, say, Lucky Thompson. Wardell 
has plenty of drive, with a nice light at- 
tack — he can blow, as they say in the trade — 
but he isn't too concerned with the intri- 
cacies, harmonic or otherwise, in what's 
Known as bop. He just likes to blow, which 
he does here with considerable effect. So 
does alto-man Sonny Kriss, who has an ex- 
citing Parkerish style, a good bit more 
roughhouse than the Bird, and a fine beat. 
The excellent rhythm section rates a curtsy, 
too ; they don't swing so much in the be- 
ginning, but halfway through Gray's solo 
everything begins to move, and it keeps 
moving to the end. 

There's a nice "in person" feeling about 
the whole record. (Modern 20-639) (P.B.) 




Picture, if you will, your harassed cor- 
respondent glowering over a work-table 
piled high with shimmering blurbs for the 
most momentous development in phono- 
graphic history. The adjacent floorspace is 
littered with unprintable invective torn from 
the steaming, outraged typewriter. The first 
sane glitter of cogitation reveals in a trice 
that a war correspondent is at best a crass 
opportunist. 

Let 'em have their damned war, and I 
shall be the last to be concerned ; especially 
since both sides are selling the ammunition, 
the while maintaining an acceptable currency 
of accepted usefulness. Didn't they both, 
Victor and Columbia, set up shop with an 
identical line of goods — yes, their very first 
discs were seven inches in diameter ! I dis- 
avow any interest whatsoever in this present 
madness and advise my readers to do the 
same. 

And so this is still the perfect day and 
my beautiful nature is rescued. The sun 
shines bright, the air is crisp and clean and 
the last of the Christmas cigars is succulent 
in taste and aroma. To work ! 

The no longer over-familiar overture to 
Ambroise Thomas' Raymond is available 
in a capitally performed and recorded 
edition by the City of Birmingham Or- 
chestra, George Weldon conducting {Co- 
lumbia 72374-D). Another overture infre- 
quently programmed these days is Beetho- 
ven's Egmont, with Dr. Koussevitzky's 
Bostonians in fine fettle. Here is an item 
long cherished in the ancient Mengelberg 
waxing. The Victor engineers might have 
done better with microphone placements in 
the present case (12-0288) and, too, some- 
one in the processing plant slipped up in 
striking through the center-hole, with the 
result that the pressing of which my copy 
is a part suffers a certain "wow" on sus- 
tained passages. Misfortune has dogged 
many Boston Symphony recordings during 
the past few years, and I note that the 



otherwise superb Prokofieff and Mendels- 
sohn symphonies are fraught with excessive 
surface hiss. No excuse for this sort of 
thing these days. . . . Say, do you want to 
hear something extra-special in the way of 
sheer, beautiful sonority? Then try Colum- 
bia's latest issue of the Pagliacci Prologue. 
It is a repressing from a European original 
and while the baritone, Paolo Silveri, sings 
it in a Silvio-sized voice (why not???) the 
entire production smacks of operatic know- 
how such as we very seldom get from our 
native assembly lines. 



On a previous occasion this department 
stepped out of its assigned territory to set 




down words in praise of a "popular" vocal- 
ist, Miss Jo Stafford — since which time I 
have had further frequent exposure to the 
lady's wiles. With precious few exceptions 
Miss Stafford's repertoire consists of the 
very sorriest trash, yet the dignity with 
which she invests her utterance commands 
respect and admiration. Up to a certain 
point in her range, the tone is purely limpid ; 
and her enunciation gives cards and spades 



to almost everyone else in whatever musical 
station. There are some things which no 
microphone can fake and one of them is the 
literacy that has made Jo Stafford the 
supreme artist in her province. 

Charles O'Connell's Victor Book of the 
Symphony has been revised and reissued by 
Simon & Schuster under a slightly differ- 
ent title : The Victor Book of Symphonies. 
Whereas, the original structure embraced, 
besides symphonies, certain other works in- 
volving orchestra such as tone-poems, con- 
certi, occasional pieces and such, the new 
volume confines itself to the subject implied 
by the title. Another volume is in work 
which will treat in full measure upon such 
eminent items outside the actual symphony 
repertoire as are of interest. Mr. O'Connell 
has here done his usual workman-like and 
interesting job here. 

The clientele of Random House has the 
opportunity to weep softly into its souffle 
through many readings of Sigmund Spaeth's 
endearing History of Popular Music in 
America. The good Doctor Spaeth has never 
been anything less than a magnificent nos- 
talgist and here we have what probably is 
his magnum opus. Yon will look, and not in 
vain, for omissions; you will hum, whistle 
or/and sing as you browse among these 729 
pages — and you will live happily ever after. 

Dr. Spaeth's books cost five dollars, as 
does The Saint Nicholas Anthology, another 
Random House publication without which 
the fireside of your memory must be at least 
partially fallow. This whopping, big book, 
compiled by historian Henry Steele Com- 
mager and his family, puts between covers 
the best of text and pictures from America's 
best-ever children's magazine (b. 1873 — d. 
1939). To coin a cliche, here is a treasure 
trove for children of all ages, from nine to 
ninety. A very special gift for any special 
occasion. 



20 



leans clarinetists and such link figures as 
Eddie Barefield show how the reed style 
shifted from clarinet to alto or tenor saxo- 
phone during the 'Twenties. Barefield's feel- 
ing for phrasing contrasts and his fluid 
quality are to be heard consistently in Lester 
Young's style. 

But Lester draws equally from sources 
of a much different nature — Debussyian 
harmony, light intonation and the spiritual 
qualities which are attached to the white 
jazz tradition of Bix Beiderbecke and Bud 
Freeman, both,., of whom Young listened to 
during his early period. Beiderbecke's search 
for the springs of hidden beauty, hyper- 
sensitivity and Bohemianism are reflected 
in Lester's music. From Bud Freeman, a 
healthier exponent of Chicago jazz, Young 
draws clean technique, lightness of tone and 
a sense of chromatics. Occasionally Free- 
man's work suggests the flights of exuber- 
ance that we find so frequently with Lester. 

It is this synthesis of opposing attitudes 
and ideologies — the profound tradition of 
the blues combined with the infusions of 
European harmony and white romanticism — 
that gives Lester Young's music its special 
appeal. The various materials are combined 
in a style which has no eclectic qualities, 
but is fused, integrated, and intensely per- 
sonal. 

From a historical point of view Lester 



be-bop 

(Continued from Page 7) 

Young's influence was most effective during 
his Basie period. It was effective less on 
those of his own generation than on the 
young musicians learning their instruments 
and developing a style. Among those of his 
own generation the most important reed- 
men followers were Bud Johnson, Franz 
Jackson, Scoops Carey, Little Sax Crowder, 
all of whom turned up at various times with 
Earl Hines' band. 

If Lester gained only occasional disciples 
among those of his own generation, his ap- 
peal to those of the next was transcendant. 
From the date of his very first record re- 
lease with Basie, young musicians in all 
parts of the country began listening to jazz 
with a new attitude. Basie records were 
sedulously collected, the Young solos re- 
played, hummed, whistled, imitated. Appear- 
ances of the Basie band were de rigeur 
functions for the growing number of fans 
who sat at his feet on such occasions, "dig- 
ging" every phrase played by the master. 

As Dexter Gordon describes it : "Hawk 
was the master of the horn, a musician who 
did everything possible with it, the right 
way. 

"But when Pres appeared we. all started 
listening to him alone. Pres had an entirely 
new sound, one that we seemed to be wait- 
ing for. Pres was the first to tell a story 
on the horn." 



packages 



Package Tester 




"The Best Laid Plans . . ." 




Supreme Faith-in- 
Our-Postal-System 



Of course, Coleman Hawkins and other 
saxophonists of the Hawkins school had 
"told a story," and an important one, on 
their horns. Dexter Gordon is saying in 
clear language that the art of the older 
school, the jazz classicists if we like, no 
longer held valid for the insurgents of his 
generation. They were in revolt against the 
orthodoxy of the Armstrong - Hawkins 
school of jazz, with its powerful vibrato, 
emphatic periods, lusty intonation, rigid 
harmonies and severe solo architecture. 

What they admired in Lester Young was 
his lighter and purer tone, his broader har- 
monic concepts, his greater extension of the 
solo line — with the resultant freedom from 
its bar divisions — his dreamier and more 
lyrical style. And of course, like all who 
appreciate great jazz of any kind, they rec- 
ognized his transcendant qualities : his 
melodic gift, inventiveness and, above all, 
his tremendous swing. 

Pres became a cult in the late 'Thirties 
and its camp followers numbered dozens of 
musicians who were to take part in the 
changes of the next decade : Gillespie, 
Charlie Parker, Buddy Powell, Thelonious 
Monk, Gordon, Gray, Getz, Eager, Stitt, 
Roach, Clarke, Miles Davis, Leo Parker, J. 
J. Johnson, Chaloff, Christian, Benny Harris, 
Navarro. Practically every important new 
musician of the 'Forties learned from Lester 
Young. 



Published in London monthly 

JAZZ JOURNAL 

is edited by 
SINCLAIR TRAILL & 
TOM CUNDALL 

and features the writings of such 
authorities as 
Hugues Panassie, Brian Rust 
Stanley Dance, Peter Tanner 
Grey Clarke and John Davis 

together with 

Discographies, Record and Book 
Reviews, Cartoons, Record Dis- 
posals and Wants, and many other 
features — always interesting, and 
often amusing. 

Subscriptions — $4.50 yearly. 

to 

THE RECORD CHANGER 

125 La Salle Street 
New York 27, N. Y. 



21 



TIGER RAG 




joe madison 



This compilation is an attempt to list 
every known, verified recording of one of 
the most frequently waxed of all jazz stand- 
ards. Collector Joe Madison notes here 
nearly three hundred versions, in many 
styles and from many countries. 

But even this mammoth listing does not 
claim to be absolutely complete. Madison in- 
forms us that "some 100 Tiger Rag items 
have not been listed because of my inability 
to verify the information." Readers knowing 
of additions or corrections for the discog- 
raphy may contact Joe Madison at 2825 
34th Avenue, San Francisco 16, California. 

The following rules have been followed 
in the compilation : 

1. When the same item (identical title, 



identical band name) appears on more than 
one label, in the same country, only one 
label is listed. 

2. Identical recordings issued under differ- 
ent titles, or under more than one band 
name, are listed separately. 

3. When T.iger Rag has been issued under 
another name (Hot and Bothered, D,er 
Schwartcer Panther, etc>, this other title 
is noted in parentheses. 

4. No private labels or air-shots unavail- 
able to the general public are listed. How-, 
ever, such borderline cases as V-discs are 
listed. 

5. The country listed is always that of the 
record label, not necessarily that of the band 
or artist. 



THE ACCOMPAN 'OKS 


(TIGER ROSE) 


us 


ACOUP l 30 


DIXON'S JAZZ MANIACS 


US 


fW 12408 


LARRY ADLER 




E 


RE Z0I842 


C. DOLNE'S St INGTETTE 


BELC 


JCB 42| 8 


LARRY ADLER (MEDLEY) 


E 


CO 1776 


DOT DONEGAN 


US 


CONT 6034 


AMBROSE ORCH. 




E 


DE 5550 


CHARLES DORNBERGER 


US 


VI 20647 


LOUIS ARMSTRONG 




US 


OK 880C 


JIMMY DORSEY 


E 


DE 1878 


LOUIS ARMSTRONG 


(NEt TIGER RAG ) 


us 


OK 4l557 


JIMMY DORSEY 


E 


DE 6|42 


LOUIS ARMSTRONG 


(SUPER TIGER RAG) 


F 


BR500490 


TOMMY DORSEY 


US 


OK 41 178 


LOUIS ARMSTRONG 


(SUPER T IGER RAG 


F 


BR500490 


EIGHT PIANO SYMPHONY 


E 


CO 1601 


PAUL ASH 




us 


VR 505 


FRED ELIZALOE 


E 


BR 147 


SVENO ASMUSSEN 




E 


HMV 1327 


DUKE ELLINGTON 


US 


BR 65l0 


BUSTER BAILEY 


(MAN tITH HORN) 


US 


VO 4664 


DUKE ELLINGTON (HOT & BOTHERED) 


US 


VILI6006 


VALI BAND 




DEN T0N0IIO5 


DUKE ELLINGTON (HOT 4 BOTHERED) 


us 


V 1 L 1 6006 


BALLYH00L I0ANS 




E 


HMV 50l3 


DUKE ELLINGTON (BRAGG IN IN BRASS) 


AU 


PA 7636 


BAR TRIO 




G 


POLY47207 


DUKE ELLINGTON (HOT & BOTHERED) 


AU 


PA 3433 


KAMIL BEHOUNEK 




czultrai i7ee 


EMPERORS OF JAZZ 


US 


SWAN 7509 


BIX BE ICERBECKE 




us 


HRS 24 


AKF. FAGERLUND 


SWC 


SCALA 93 


GRAEME BELL 




F 


PAC9C002 


SERANE FERRET 


F 


00 36266 


BLACK DEV ILS 




E 


PAE 2380 


LEN f ILL IS 


E 


DE 3228 


JOHN BLARNEY BAND 


BELG OLY 2224 


FREDDIE FISHER ORCH 


US 


DE 5331 


FRED BOHLER ENSEMBLE 


SWISS CO lOBO 


FIVE BIRMINGHAM BABIES 


US 


PA 36266 


B00THBY TRIO 




E 


RO 78 


GEORGE FORMSBY (SWING IT GEORGE ) 


E 


REZO 3 103 


80ST0N POPS ORCH 




US 


V 1 4466 


REG. FORSYTHE-ART YOUNG 


US 


VI 26274 


BOSTON PROMENADE 


ORCH 


E 


HMV 907? 


FOSTERS FOUR HOT TRUMPETS 


E 


REZO 2822 


BRACKENS TOE TICKLERS 


US 


DO 4322 


PORKY FREEMAN TRIO 


US 


ARA 133 


SLZT f.GTONS REVELERS (BASS BLUES) 


US 


CH 45163 


BREAUX FRERES 


US 


VO 2857 


CABRELL I 




E 


REZO Me4 


FRIARS SOCIETY ORCH 


US 


GE 4968 


FUD CANORIX 




Q 


TELEI03I5 


FUNNY BOYS 


DEN OD 432 


BENNY CARTER 




E 


VO 19 


GEORGIA WASHBOARD STOMPERS 


US 


DE 7003 


QAYLORD CARTER 




US 


B* 3000 


LUD GLUSK IN AND AMBASSODON IANS 


GE 


TERG 5463 


NOEL CHIBOUST 


(TIQASSO) 


F 


SI 142 


LUD GLUSK 1 N AND HIS-JUNIORS 


E 


PAT 6226 


NOEL CHIBOUST 


(V ITE ET FORT) 


F 


SW 1 19 


LUD GLUSK IN 


E 


HOMO 


FREEMAN CLARK TRIO 


fLINDEN 82 


NAT GONELLA 


E 


PAE 161 


LEN CLEARY 




US 


MER 501 4 


NAT GONELLA 


E 


PAE 2|88 


ALIX COMBE LLE 




F 


St 84 


BENNY GOODMAN TRIO 


US 


VI 25481 


BILLY C0STELL0 




E 


BE 61 AS 


BENNY GOODMAN QUARTET 


E 


HMV 8531 


8ILLY COTTON 


(NEi TIGER) 


E 


RE 221 


BENNY GOODMAN S EXTET 


US 


CO 36922 


BILLY COTTON 


( SUPER T IGER) 


E 


REZO 866 


BENNY GOODMAN SEXTET 


US 


VO 556 


BILLY COTTON 


(THIRD TIGER) 


E 


CO |4|3 


BOB GORDON 8AN0 


SW 1 SS 


ELITE4I 17 


COTTON PICKERS 




US 


RO 997 


BOB GRANT 


us 


DE 2400 


JOE DANIELS 




US 


DE 2725 


GRAPPELY AND HIS MUSICIANS 


E 


DE 7787 


DANISH SIX SflNGERS 


E 


HMV 4570 


QREGOR AND HIS GREGOR IANS 


F 


CO 48 


DE6SCH INSK 1 RF ORCH (SCHtARZER PANTHER )G 


AMIGA ??? 


JOHN QUARNIERI 


US 


MA J 1226 


JOHNNY DEDRO IT 


t 2 BLUES) 


US 


OK 40150 


8ILL HA IDS CUBS (WEARY WEASEL ) 


US 


PM 2066 1 


DEVINES WISCONSIN ROOF ORCH 


us 


BDWY 1 140 


GLEN HARDMAN 


US 


CO 35221 


DIXIE JAZZ BAND 




us 


OR 984 


COLEMAN HAWKINS 


Swiss 


PA 35513 


REG. DIXON 




E 


REZO 1432 


FLETCHER HENDERSON 


us 


CR 3107 


REG. OIXON 


(meoley) 


E 


REX 9552 


FLETCHER HENDERSON 


us 


VR 60 16 



HCNRIKSEN'S SEXTET (VAGABOND ORCH ) 
HILL TOPPERS 

EARL HINES (PANTHER RAG) 
HOLLYWOOD DANCE OBCM 
HOMETOWNERS 

HOOSIER HOT SHOTS (RED HOT FANNY) 

HOOSIER HOT SHOTS 

HOTEL PENNSYLVANIA MUSIC 

HOTEL PENNSYLVANIA MUSIC 



DEN HMB 6893 
US GG 
US HRS 1 01 I 
US APEX 8644 
E DUO 4034 
US VO 
OK 
VE 
VE 



US 

us 
us 



E 

us 
us 
us 

E 

us 



PAUL HOWARDS SERENADERS (CHARLIES IDEA)US 
BOB HOWARD (SWING IT BOB MEDLEY ) E 
K.O.HRUBY QU INTET 
SPIKE HUGHES 
JACK HYLTON 
JACK HYLTON 
JACK HYLTON 

JACK HYLTON ( HYLTON STOMP) 

J.JESCHEK'S SWING BAND 
EUNK JOHNSON 
FREDDY JOHNSON 

ISHAM JONES 

I SHAM JONES 
JUNGLE BAND 

DAVID KAYE-IVON MORETON 
KELLY BROTHERS 
KENTUCKY SINGERS 
KENTUCKY GRASSHOPPERS 
KERN AND SLOOP 
JAMES KOK 
ANDRE KOSTELANETZ 
KORDT SISTERS 
CARLO KRAHMER 
GENE KRUPA 
PAUL LAMBERT TRIO 
W. LARSSON 

BRIAN LAWRENCE QUARTET 
BRIAN LAWRENCE 

ERWIN LEHN ORCH (SCHWARZER PANTHER' 
LEONS LONE STAR COWBOYS 
TED LEWIS 
TED LEWIS 
TED LEWIS 
PHILIP LEWIS ORCH 
NISSE LIND'S TRIO 
JACK LI NX 
CLAUDE LUTER 
CLAUDE LUTER 



5| 10 
262 

262 
4238 

5027 



4289 
6017 
2092 

2092 
VI 22001 
E BR 2239 
CZ EST A 7868 
E DE 33l I 
E HMV 5|28 
E HMV 5789 
E HMV 2885 
GER GR 2415 
CZ ULTR I 1 41 8 
US AM 251 
DE 
DE 
DE 
BR 
PAE 
DE 

F PATHE94423 
US BA 6355 
US TEMPO 1 022 
E DE 5737 
E CO 1837 
DENP0LY50983 
ITALY FON 8357 
US CO 35454 
GER SB 25430 
SWESCALA 382 
US CH 40058 
REX 9496 
IMPI7472 
DE 5982 
CO 
CO 
DE 
DE 

SIVEDSON 3486 
US OK 40619 
F MDLH 3744 
F HARMO 3002 



E 
G 

US 

us 
us 
us 

E 



770 
381 3 
4272 
1540 



BE LYMANS SHARPS AND FLATS (WEARY WEASEL)US BR 3964 
ABE LYMANS AMBASSADOR ORCH (WEARY WEASEL)US BR 2504 



(LION RAG) 



W I NGY MANONE 
MAPLE CITY FOUR 
JOE MARSALA 
BRAM MART IN 
MASTERS HAWA I IANS 
MELODY MAKER RHYTHM 
MIDNIGHT STOMPERS 
FELIX MENDELSSOHN 
MILLS BLUE RHYTHM BAND 
MILLS BLUE RHYTHM BAND 
MILLS BROTHERS 
MILLS BROTHERS 
MILLS TEN BLACK BERRIES 
MISSISSIPPI MUD MASHERS 
MISSOURIANS (MARKET STREET STOMP) 
MODERN I QUES 
JELLY ROLL MORTON 
JELLY ROLL MORTON 
CURTIS MOSBY (TIGER STOMP) 

MOUND C I TY BLUE BLOWERS 
J & M MULCAY 
PHIL NAPOLEON 
PHIL NAPOLEON 
OZZIE NELSON 
ROY NEWMANS ORCH 



US 
US 
US 
E 
E 
E 
E 
E 

RD IE RED RIDE) US 
R IDE RED RIDE) E 
US 
E 

US 
US 
US 
E 
US 

us 
us 
us 
us 
us 

US 

us 
us 



UP 301 
ME 12699 
SA lOOOl 
REZO 2556 
HMV 4286 
BR 2 1 69 
WIN 4874 
CO 2494 



CO 
PAE 
BR 
BR 



2087 
2 145 

1229 

2020 



(HOT BOTHERED) 



DIVA 6056 
B8 73 1 6 
VI 38067 
PAE 1 774 
CI 1639 
AU 607 
I 192 
2804 
1152 



NEW MAYFAIR ORCH (GLOBE TROTTIN TIGER} E 



NEt ORLEANS HOT TODDLERS 
RAY NOBLE 
HUSK OHARA 

ORCHESTRE JAZZ VICTOR 

ORIGINAL AMERICAN JAZZ BAND 

ORIGINAL CAPITAL ORCH 

ORCHESTRE RAMONDE (TAMING THE T 

ORIGINAL DIXIELAND JAZZ BAND 

ORIGINAL DIXIELAND JAZi BAND 

ORIGINAL DIXIELAND JAZZ BAND 

ORIGINAL DIXIELAND JAZZ BAND 

ORIGINAL DIXIELAND JAZZ BAND 

ORIGINAL D IX IELAND JAZZ BAND 

ORIGINAL DIXIELAND FIVE 

ORIGINAL ECCENTRIC BAND 

KID ORY'S CREOLE JAZZ BAND 

OSLO DRAGSPELORKESTER 

BCBBY PAGAN 

PATTl 

PANCHOS COWM ORCH 



us 
us 



GER) 



CO 
BR 
SON 

ED 51908 
ED 51908 
BR 7523 
VO 2906 
HMV 421 
SAV 1251 0 
VI 24577 
CAN STA 9237 
F PA 1957 
AU VOX 1737 
E ZO 2447 
E CO 1669 
US AEVO 1206 
US OK 4841 
US VI |8472 
US VI 25403 
US V-D 21 4 
E CO 748 
US VI 25524 
G HOMO 15964 
US CO 37274 
SWED SON 805l 
E HUV 775 
E BR 1359 
US DE 3620 



22 



JACK PAYNES ORCH 


E 


REX 87i9 


JACK PAYNES ORCH 


E 


REX 9339 


PHILLIE STRING BAND 


US 


APOL l l |7 


PHILLIPS LSLHSVILLt JUS BAUD 


its 


<UJ 7194 


PIANO MAN IAC6 


E 


BT 3372 


PORT JACKSON JAZZ BAND 


AU 


RCP 4091 


PURPLE PIRATES 


US 


W 2527 


QU INTETTE OF HOT CLUB 


US 


JD 8003 


RAMBLERS DANCE ORCH 


DUTCH 


DE 9211 


MICHEL RAMOS 


F 


0D28I494 


HAROLD RAMSEY 


E 


PAE 1606 


RAG BANDITS 


SWED SCALA33) 


RED DEV ILS 


US 


CO 14586 


RED DEV ILS 


US 


CO 14586 


DJANGO RE 1 NHARDT HOT CLUB 


G 


TELE 1959 


DJANGO RE INHARDT (DJANGOS T IGER) 


F 


SW 242 


D.RE 1NHARDT— A.EKYAN 


F 


SW 4 


D .RE 1 NHARDT— S. BE REND RES 


BELG 


RHY 5025 


JULES REUBEN TRIO 


E 


DE 6163 


ALV 1 NO REY 


US 


BB 1 1002 


RHYTHM 


E 


PAE 2188 


RHYTHM RASCALS 


E CROWN 7 


C. ROBINSONS JACK RABBITS (NONSENSE) 


US 


V 1 38074 


HARRY ROY ORH ( MEDLEY ) 


US 


DE 1507 


HARRY ROYS BACK CLUB BOYS 


E 


OR 100 


HARRY ROY ORCH (HARRY ROY STAGE SHOW) E 


PAE 609 


HARRY ROY ORCH 


E 


PAE \9i9 


HARRY ROY ORCH (NE» TIGER) 


E 


REZO 3499 


OLAF RUDBECK 


DEN 


TONO 5049 


SANTA PAULA SERENADERS 


AU 


PARL 4477 


HANS SCHRE IBER 


SWED SON 500l 


H.SChULZ ORCH (DER SCHWARZE PANTHEF 


>. G 


POLY 1 2025 


SEMPRINI 


ITALY 


FONI 8629 


SEMPRINI 4 KRAHMER (MEDLEY ) 


CZ 


P0LY34753 


JOE SHAW ORCH 


US 


VR 8029 


SIDAY AND LEOPOLD 


E 


PAE 2505 


SIX KEYBOARD KINGS 


E REZO 1277 


ROY SMECK 


US 


PE 11338 


BILLY SM ITH 


F 


UL 971 


ROLAND SM 1 THS RASCALS 


US 


PE 12764 


ALF SOGARDS ORCH 


DEN OD 3804 


SOUTHERN JAZZ GROUP 


AU 


MFJMP 3 


SOUTHERN RAG A JAZZ BAND 


E 


WIN 3607 


STANELLI HORNCHESTRA (MEDLEY) 


AU 


CO 1520 


W.STANKE ORCH (DER SCHWARZER PANTHER )G 


CO 4941 


TEDDY STAUFFER 


SWISS 


ELITE4109 


LEW STONE 


US 


DE 5l0 


CLIFFE STONES ORCH 


US 


CP 378 


TANZKAPELLE DES BERLINER RUNDFUNKS(SW PA)G 


AM 1 GA 1 1 1 5 


ART TATUM 


US 


DE 18051 


ART TATUM 


E 


BR 1506 


TEN BLACKBERRIES 


US 


RO 1453 


TEN BLACKBERR IES 


US 


RO 1453 


TEN BLACKBERRIES 


us 


OR 2089 


SIDNEY RORCH ( MEDLEY ) 


DUTCH 


DE 32137 


UNIVERSITY SIX 


US 


HA 224 


U.S. COAST GUARD BAND (TRAGICAL MUSI 


C) US 


USCG 1790 


VALA ICA 


E 


PAE 923 


VAN DAM AND HIS ORCH 


E 


OCTO 1025 


VENUT 1 LANG (STRINGING THE BLUES) 


E 


CO 4454 


VENUT l-LANG (STRINGING THE BLUES) 


E 


CO 5001 


WASHBOARD RHYTHM KINGS (FIRE) 


E 


HMV 6362 


GUS VISEUR 


F 


CO 2806 


LOUS COLA QUINTET 


ARC 


OD 


WANDERERS 


E 


HMV 26 


WASHBOARD NOVELTY QUARTET . 


E 


REX 8053 


WASHBOARD RHYTHM BOYS 


US 


V 1 24059 


WASHBOARD RHYTHM KINGS 


US 


BB 6084 


WASHBOARD RHYTHM KINGS (FIRE) 


E 


HMV 6362 


WASH 1 NGTON-BERTOL IN 


ARC 


OD 45898 


WASH 1 NGTON 1 ANS (HOT & BOTHERED) 


OS 


CA 9023 


LU WATTERS 


US 


JM 6 


ETHEL WATERS JAZZ MASTERS 


US 


BS 10073 


JOHN WEBB 


G TEMPO 1 1 


JOHN WEEPSTER 


SWISS 


EL ITE4282 


TED WHITES COLLEGIANS 


US 


OR 1544 


WHITEWAY JAZZ BAND 


US 


PM 20014 


PAUL WH ITEMAN 


US 


CO 2277 


PAUL WH ITEMAN (SENSATION STOMP) 


E 


HMV 4616 


WHISTLERS JUG BAND (HOLD THAT T IGER ] 


US 


VI 23305 


WHOOPEE MAKERS 


us 


PE 15194 


WHOOPEE MAKERS (HOTF& BOTHERED ) 


us 


PAT369I5 


KURT WIDMANN (SCHWARZER PANTHER) 


G 


OD 3|769 


TEDDY WILSON 


USTWSP 2 


WINDY C ITY FOUR 


US 


VO 1738 


WITTTWER TRIO 


US 


EX 2 


WOLVER INE ORCH 


E 


BR 2205 


SCOTT WOOD AND HIS ACCORDEON BAND 


E 


HMV 537 


SCOTT WOOD AND HIS SIX SWINGERS 


E 


CO 1520 


SAM WOODING 


SPAN 


PAR 25420 


ART YOUNG ( ANY OLD RAGS) 


E 


DE 5645 



#HHPUHCiHf 
4 EXCITING SIDES 



BY THE 



Cattle Jajj Sand 

HF 8/9 KANSAS CITY STOMPS 
DARKTOWN STRUTTERS BALL 



HF 10/11 TIGER RAG 

NO BOP HOP SCOP BLUES 

7>>Uce $1.05 



Distributors 

EAST 

RAMPART RECORDS 



WEST 
VERBA BUENA 



CASTLE RECORDS 

5126 S. E. 37th Ave. 
PORTLAND, OREGON 



letters to editor 

(Continued from Page 5 ) 

If all shippers were made responsible for 
the safety of the parcels that they send, 
maybe they would soon learn to pack the 
records correctly, and send the parcel by the 
best means — mail or Railway Express. 

Another problem that should be stand- 
ardized is who is to pay the postage. I, per- 
sonally, think that the buyer should always 
pay the postage unless other arrangements 
are made at time of sale or trade. This 
would indicate to each bidder, or buyer, that 
the price of the record bid on does not in- 
clude postage paid. 

As to broken records received — the rule 
that the shipper is always responsible would 
cover such transactions as equal trades of 
records, outright buying of records at a set 
price or bidding on records and winning 
them at the bidder's price. Each shipper 
should be responsible for his own records 
being sent safely. 

Sincerely yours, 

G. West Cochrane, 

1200 Main Street, Upland, Pa. 



RECORDS 
WANTED 

I will buy collections out- 
right. Anything from 10 
to 10,000 Records. Jazz, 
Pop, Swing, etc. Send me 
a list of what you have 
with the condition of the 
Records indicated. You 
will receive a prompt re- 
ply. Write to 

GEORGE RAAB JR. 
1 JACOBUS PL. 

N. Y. C. 



FOR SALE 
RAY NOBLE RECORDS, MOSTLY 
UNUSED. MANY OTHERS, VOCAL, 
CELEBRITY, DANCE, ORGAN ETC. 
BRODETSKY, 87 MEXBOROUGH 
GROVE, LEEDS 7, YORKSHIRE, 
ENGLAND. 



subscribe 
to the 
record changer 
today 



23 



THE RECORD 
CHANGER hails 

'A landmark 
in jazz 
criticism!" 



rag-time 




A PEOPLE'S MUSIC 

By SIDNEY FINKELSTEIN 

BILL GRAUER, JR.: "The book on jazz 
has finally been written! Dozens of 
books in the past decade have purported 
to explain jazz. But most have been 
written by men of too little knowledge. 
Sidney Finkelstein has succeeded where 
others have failed. He has replaced hero 
worship and dogma by knowledge and 
keen analysis. This book should be read 
by every student of jazz music. It should 
be made required reading in every col- 
lege course on modern music. A splendid 
book by a man whose appreciation of 
Bix and Jelly Roll is intensified by an 
equal respect for the Hindemiths and 
Mozarts." 

ROSS RUSSELL: "An event. A land- 
mark in jazz criticism, a pithy and pro- 
vocative book. Properly evaluates jazz 
as a part of the whole scheme of world 
music. Demolishes the ancient dualism 
which set 'classical' against 'popular' 
music. Cuts through the hysterical over- 
statement of the jazzophiles and the 
condescension of the musical snobs. It 
throws daylight into the shafts of the 
mine of jazz history which have been 
worked with enthusiastic confusion for 
the past 15 years." 

dtF~ The authentic story of America's 
own music— from New Orleans to bebop. 
With a selective list of 300 great jazz 
records now available. 27 drawings by 
JULES HALF ANT . Indexed, $3.00. 

SEND NO MONEY NOW, unless you wish. 
Examine this book free for 5 days. If not 
completely satisfied, return it for full re- 
fund of purchase price. Just mail this 
coupon. 



Citadel Press, 120 E. 25 St., N. Y. 10 

Please send me JAZZ: A PEOPLE'S MUSIC. 
I will pay postman $3.00 plus postage & hand- 
ling charges. I may return book In 5 days for 
refund of purchase price. 



Name 

Address.. 



City Zone State 

□ SAVE MONEY. Check this box and enclose 
remittance. We then pay postage. Same re- 
turn privilege. 5-A 



(Continued from Page 8) 

instruments : the drums, tuba, bass, guitar, 
clarinet, horns, the earlier material became 
transformed, and the end product was more 
richly orchestral, instrumentally speaking, 
than anything previously encountered. 

In the absence of conclusive research, 
the exact date at which these processes oc- 
curred is difficult to establish. My own 
suspicion is that the process was progressive, 
rather than abrupt, and that it commenced 
to take place at about the mid-point of the 
last century, around 1850. 

The earliest published rag that I have 
succeeded in locating up until now by my 
necessarily- limited research is a number en- 
titled New Coon In Town, composed by 
someone named Gunnar, and published by 
S. Brainard's Sons, of New York and Chi- 
cago. The number was brought forth in 
1884, by all accounts, a year before Jelly 
was born. What particularly caught my 
fancy was the fact that Gunnar chose to 
describe this brain-child, in a burst of con- 
fidence, as a "Banjo Imitation." This is the 
earliest published rag that I have found 
to date, although certainly other, earlier 
numbers are bound to turn up. What is im- 
portant is that the composition is sufficiently 
well advanced to have been included in an 
album of other Ragtime numbers selected 
as representative of the period. 

It is interesting to contrast this earlier 
composition with a later one : Maple Leaf 
Rag, by Scott Joplin, popularly known as 
the King of Ragtime Writers. An espe- 
cially fine specimen of ragtime music, this 
was published in 1899, at a time when Jelly 
was only about 14 years old, about two years 
before Morton is reported to have made 
his first professional appearances as a sub- 
stitute for older, more experienced men. 

Without laboring the point unduly, what 
should be observed, by way of conclusion, 
is that Maple Leaf, quite apart from the 
precedence of dates, is noteworthy for the 
fact that the notational devices which it em- 
ploys incorporate all of the essential musical 
elements that appear in Jelly Roll's compo- 
sitions of a much later period. This will be 
plain if we examine any of his better known 
numbers, such as King Porter Stomp, first 
published by Melrose Bros. Music Corp., in 
1925. As even the briefest study will con- 
firm, the notated page, like its counterpart, 
the photograph, speaks more volubly than 
any words. 

records noted 

{Continued from Page 18) 

Thelonious Monk Trio — Quartet 

Ruby My Dear 
Evidence 



Ruby My Dear was written years ago, 
for Ruby, I guess, who is singularly hon- 
ored by the gesture. It's a beautiful tone- 
poem, played with great feeling and color 
by the splendid trio of Monk, Gene Ramey 
and Art Blakey. Oddly enough, I can en- 
vision this played by one of the Alec Wilder 
groups, or even a larger lushly instrumented 
orchestra, although these guys do quite well 
enough for me. 




Note: In the Shadowgraph Proc- 
ess, each needle is magnified 
200 times and shadowed against 
a scaled outline of a perfect 
point. If it deviates more .than 
a tolerance of from .0002 to 
.0015 inches, it is discarded. 

A Product of 



Famous for Fine Needles Since 1892 

H. W. ACTON CO., INC. 
370 Seventh Avenue, New York 1, N. Y. 



ijj^ ^ all you 

I CATS I 




in the 

los angeles 

area 

are invited 
to 



marie and gene deitch's 
regular sunday night 
record sessions: GR 1-8240 



Evidence, with Milt Jackson, John Sim- 
mons and Shadow Wilson, is a cockeyed, 
delightful abstraction of Just You, Just Me, 
with an irresistible beat and one of Monk's 
most rollicking solos. More happens on this 
side — musical free verse or something — with 
a lot of widely spaced, apparently divergent 
notes, a result of Monk's habit of thinking 
of things as a whole, instead of a bar here 
and a bridge there. A seemingly lost chord 
may hang in limbo for 12 bars, then sud- 
denly fall into place, Chinese-lock style. I 
think it's the nuts. (Blue Note 549) (P.B.) 

In answer to a couple of sneeringly posed 
questions, I'd like to state that most of the 
stuff I review is approved, sometimes with 
fervor, because I haven't the space, time 
or inclination to write about records I don't 
like. Life is too short. (P.B.) 



24 



i 



IN LOS ANGELES 

IT'S THE 

XeMh 

RECORD OUTLET 

(Formerly of New York) 

"The Collectors' 
Paradise" 

The Largest Store in California 
Devoted Entirely to 
Collectors' Items 

For the Best in Jazz, 
Swing, Bebop, Popular 
and All Old Favorites. 



Tremendous Assortment 
of 

Armstrong, Bechet, 
Bessie Smith, Muggsy, 
Holiday, New Orleans, 
Miller, Goodman, Dodds, 
Jelly Roll, Bix Beiderbecke, 
Ellington and Ellington Units, 
Dixieland, Basie, Bing Crosby, 
Etc., on Original Labels, 
Imported Parlophone, 
HMV, Etc. 

Please send in your want lists. 

If in Los Angeles or vicinity, 
it would be well worth while 
to visit us. 

5600 Hollywood Boulevard 

LOS ANGELES 27 
CALIFORNIA 

Telephone Hillside 8088 

As Always. Fairest Prices. 



behind the cobwebs 

(Continued from Page 16 ) 

I'm Shootin' High (60221) Ch 40076 

I've Got My Fingers Crossed 

(60222) ' Ch 40076 

High Society (60223).. Ch 40103, De 1274 
Muskrat Ramble (60224) De 1274 

Jan. 3, 1936 (date No. 3) 

The Broken Record (60295) Ch 40081 

The Music Goes Round and 
Around (60296) Ch 40081 

Jan. 8, 1936 (date No. 4) 
I'm Gonna Sit Right Down and 

Write Myself a Letter (60311). Ch. 40082 
Mama Don't Allow It (60312) ....Ch 40091 
Rhythm in My Nursery Rhymes 

(60313) .Ch 40082 

/ Hope Gabriel Likes My Music 

(????) Ch 40091 

Feb. 17, 1936 (date No. 5) 

You Hit the Spot (60481) Ch 40098 

Spreadin' Rhythm Around (60482) Ch 40098 
Saddle Your Blues to a Wild 

Mustang (60483) Ch 40099 

Wah Hoo (60484) Ch 40099 

I'm Gonna Clap My Hands 

(60485) Ch 40103 

Most sources seem to agree that dates 
No. 1 and No. 2 have Yank Lawson on 
trumpet and that Bunny Berigan is the horn 
man on date No. 4. They also agree that 
Sterling Bose is the trumpeter on date No. 
5. However, the New Hot Discography 
lists Bose for date No. 3 while the Index to 
Jazz says Lawson. I disagree with both and 
maintain it's very definitely Bunny Berigan ! 
Record Changer— MLB— PM 31^5 10 
This opinion is shared by Bozy White, Beri- 
gan collector and discographer. New HD, 
you may notice, has also omitted the first 
and fourth titles under date No. 4. How 
about it, collectors? What is the master 
number for Gabriel (date No. 4) and what 
are your opinions on the trumpet men's 
identities ? 

Please send your questions, answers, opin- 
ions, comments, and what have you to me 
either at 74 South Road, Harrison, New 
York, or c/o the Record Changer. 

good and rare 

{Continued from Page 12 ) 

5302 reputed to be very good bop. Star- 
dust, by the Jack Lowens Quartet, on 
Olympia 7025, should interest the tune col- 
lectors. Magic, which is 98% non-jazz, has 
pianist Henry Segers and other soloists 
turning out medleys of Gershwin, Kern, 
Berlin and Cole Porter. 

The three outstanding Dixieland bands of 
Canada are Delta Jazz Band, Ken Dean's 
Hot Seven and The Queen City Jazz Band. 
Local Canadian collectors, unable to get the 
boys on Victor wax, made some excellent 
private transcriptions which are for sale 
commercially at a reasonable price. 

Delta Jazz Band has six sides, such stand- 
ards as Jazz Me Blues, Dippermouth, That's 
a Plenty, Alexander's Ragtime Band, Pallet 
on the Floor and Jackass Blues. The latter 
two are especially recommended. 

Queen City does Muskrat Ramble, Ballin' 
the Jack, Tin Roof Blues, and No'body 
Knows You When You're Down and Out, 
with the last two sides the best. 

Latest news from Germany is that Odeon 
is' shortly to re-issue C. Dickerson's Savoy- 
agers Stomp with Louie and Earl Hines, as 
well as some rarities of Condon, Pettis and 
Henderson. 



YERBA^UENA 

5721 GROVE STREET 
OAKLAND 9 CALIF. 

MAIL ORDERS WELCOMED— SATISFACTION 
GUARANTEED 

We stock ALL jazz and other labels 

(Everything that's advertised in THE CHANGER) 
(Exception: not everything in "For Disposition") 

Excerpts From Our New 
12-Page Jazz Catalog: 

PARAMOUNT (reissues) $1.05 each 

JOHNNY D0DDS & R. M. JONES' JAZZ WIZARDS: 

Hot & Ready/It's A Lowdown Thing. 
TOMMY LADNIER ORCH. with EDMONIA HENDERSON: 

Jelly Roll Blues/Lazy Daddy Blues. 
LOUIS ARMSTRONG with F. HENDERSON ORCH: 

Prince of Wales/ (Copenhagen). 
JOE SMITH ORCHESTRA/THE MYSTERY RAGSMITH: 

Heart Breakin' Joe/African Rag. 
FLETCHER HENDERSON, piano solos: 

Chimes Blues/I Want To. 
LEADBELLY: 

All Out and Down/Packin' Trunk. 
JELLY ROLL MORTON & ORCHESTRA: 

Big Fat Ham/Muddy River Blues. 
CLARENCE WILLIAMS ORCHESTRA: 

Squeeze Me/New Down Home Rag. 
JAMES P. JOHNSON/FLETCHER HENDERSON: 

Harlem Strut/Unknown Blues (solos). 
MEADE LUX LEWIS with George Hannah: 

Freakish Blues/The Boy in the Boat 
MA RAINEY: 

Deep Moanin' Blues/Traveling Blues 
FLETCHER HENDERSON ORCHESTRA: 

Swamp Blues/Off to Buffalo. 
SQUIRREL ASH CRAFTSMEN (Bill Priestley, comet): 

Riverboat Shuffle/Sugar. 
(And more to come: entire PARAMOUNT catalog!) 

S & D REISSUES $1.05 each 

WILL EZELL, CHARLIE SPAND, ALEX HILL, etc.: 

Hometown Skiffle, I & II. 
DOBBY BRAGG: 

Single Tree Blues/Fire Detective Blues. 
JELLY ROLL MORTON'S STOMP KINGS: 

Mr. Jelly Lord/Steady Roll. 
SKIP JAMES/JABO WILLIAMS: 

Little Cow and Calf/Fat Mama Blues. 

NEW CENTURY REISSUES $1.05 each 

BUD JACOBSON'S JUNGLE KINGS: 

Clarinet Marmalade/Laughing at You. 
CHICAGO RHYTHM KINGS: 

Song of the Wanderer/Some Changes Made. 
JOHNNY DODDS etc./YOUNG'S CREOLE JAZZ BAND: 

South Bound Rag/Tin Roof Blues. 
DOBBY BRAGG: 

3.6. and 9/We Can Smell That Thing. 
JIMMY BLYTHE RAGAMUFFINS (Keppard, Dodds): 

Messin' Around/Adam's Apple. 

NEW MEZZROW-BECHET QUINTET, 
King Jazz $1.05 

With vocal by Coot Grant* and Grant & Wilson: 

You've Got To Give It To Me*/You Can't Do That 
To Me. 

Evil Gal Blues/Breathless Blues. 

NEW BECHET-BOB WILBUR ALBUM, 
Columbia $3.95 

WITH BOB WILBUR'S WILD CATS: 79c singly: 
Kansas City Man Blues/Polka Dot Stomp 
Spreadin' Joy/It Had It But It's Gone. 

WITH THE BECHET QUINTET: 
Just One. of Those Things/Laura 
Love For Sale/Shake 'Em Up. 

NEW 20B WILBUR WILDCATS ALBUM, 
Rampart $3.95 

When You Wore a Tulip/Frog-i-more Rag 
Camp Meeting Blues/Once in a While 
Trouble In Mind/Oh, Daddy. 

AND: BILL WILLIAMS DIXIELAND BAND 
Album $3.15 

Black and White Rag/Ridin' to Glory on a Trumpet 
Maple Leaf Rag/Muscat Ramble (sic) 
Jeep Blues/At the Jazz Band Ball. 

OUR COMPLETE CATALOG MAILED ON REQUEST. 

West Coast Distributors (catalog on request) : Castle, 
Circle, Exner, Pacific, Reissue, Rampart, Session. 



HOW THE RECORD CHANGER WORKS: 



25 



Abbreviations used in the Classified 
"Wanted" and "For Disposition" 
Sections are as follows: 

Col. I, Record Label: 



At Aeolian 

Aj Ajax 

AM .... American Music 

Ap Apex 

Ar Artiphon 

As Asch 

Au Autograph 

Av .... Aeolian Vocalion 

Ba Banner 

BB Blue Bird 

Be . . . Beacon 

Bl Berliner 

BN Blue Note 

BP ... Brunswick Polydor 

Br Brunswick 

Bt Beltona 

BS Black Swan 

Bu Buddy 

Bwy Broadway 

Ca Cameo 

Ch Champion 

CI Collectors Item 

CI Clarion 

Clg Clangor 

Cn 7. Chantal 

Co Columbia 

Com Commodore 

Cp Capitol 

Cq Conqueror 

Cr Crown 

CRS .Collectors Rec. Shop 

Cs Crescent 

Cx Claxtonola 

De Oecca 

OF Discophiles Francoises 

Di Di«a 

Dl Dolmetsch 

Do Domino 

DP Decca Polydor 

Ds Disc 

Dx Deluxe 

Ed Edison 

EB Edison-Bell 

El Electrola 

Em Emerson 

Ex Excelsior 

Fo Fonotipia 

FO ... Fonotipia-Odeon 

FRM Friends of 

Recorded Music 

Ge Gennett 

GG Grey Gull 

Gl General 

Gr Gramophone 

Gt Gamut 

Ha Harmony 

He Homochord 

Hg Harmograph 



Hgl Hargail 

H M V His Master's Voice 

HoW Hit of the Week 

H RS Hot Record Society 

Id Ideal 

Je Jewell 

Jl .... Jazz Information 

JM Jazz Man 

Kn Keynote 

Li Lincoln 

Lu Lumen 

Me Melotone 

Ml Meloa 

Mo Monarch 

Mp Masterpiece 

Ms Master 

MV.Musique au Vatican 
MW . . Montgomery Ward 
NMQ New Music Quarterly 

Ns Nordskog 

Od Odeon 

OL Oiseau Lyre 

Op Olympia 

Or Oriole 

Pa Parlophone 

Pat Pathe 

Pd Polydor 

Pe Perfect 

Pm Paramount 

Pr Pro Musica 

Pu Puritan 

Ra Radiodisque 

Re Regal 

Ro Romeo 

Ry Royale 

RZ Regal-Zonophone 

SA Solo Art 

Sal Salabert 

Sbl Sonabel 

Sg Signature 

SI Sil»ertone 

St Sterno 

Su Sunshine 

Sw Swing 

Sy Syrena 

Te Technichord 

Tfk Telefunken 

TM . . . Treasury of Music 

Tr Triangle 

UH United Hot Clubs 

Ul Ultraphone 

Ve Velvetone 

Vi Victor 

ViE Export Victor 

Vo Vocalion 

Vr Variety 

Vs Varsity 

Vy Victory 



When it is necessary to indicate nationality of 
trie record, the following letters appear after 
the record label abbreviation: 



A Argentinan 

Au Australian 

B Brazilian 

C Canadian 

E English 

F French 



G German 

I Italian 

J Japanese 

M Mexican 

S Swiss 

Sd Swedish 



In the "For Disposition" section the condition* 
of the record is indicated by these abbrevia- 
tions: 

N (New): Surface noise equal to an unplayed 
record; no visible or audible wear percep- 
tible; original finish intact. 
E (Excellent): Surface noise low. smooth, uni- 
form. Not irregular or crackling. Easily dis- 
regarded in listening. No perceptible distor- 
tion. 

V (Very Good) : Surface noise somewhat 
more prominent; light foreign noises, but 
slight distortion, if any; noises not seriously 
distracting. 

G (Good): A moderate amount of surface 
noise: background may be somewhat irregu- 
lar and crackling; some foreign noises, and 
a little distortion; on the whole, reasonably 
satisfactory listening without undue distrac- 
tion of attention. Foreign noises definitely 
less prominent than the music. 
F (Fair): Foreign noises, taken together, are 
about as prominent as the music, and there 
is considerable distraction of attention, and 
listening requires some effort and concentra- 
tion; nevertheless, under these copditions, 
listening should be fairly satisfactbry. 
P (Poor): Foreign noises, collectively, are 
louder than the recorded music; continuous 
concentration is required, and there is little 
satisfaction in listening. 



Column 4 of the "For Disposition" section shows 
the method by which each record is to be dis- 
posed. 

"SAL": The record is for sale at the price 
indicated. 

"AUC": The record is at auction. The highest 
bid takes the record. Bid only what the 
record is worth to you. 



"TRA": The record is for trade only. If you 
are not familiar with the wants of the ad- 
vertiser send for his want list. If you have 
certain records in which he may be in- 
terested, mention these in your letter. 

The extreme right column in bolh the "Wanted" 
and "For Disposition" sections shows the first 
four letters of the advertiser's name. His ad- 
dress is shown below. 



ADVERTISERS WHOSE ADDRESSES ARE NOT SHOWN ELSEWHERE 



ARG: AMALGAMATED RECORD GROUP 

P.O.BOX 34l , COOPER STA.,NYC 
ANDE: JOHN L a ANDERSON 246 E. 

46 ST., NYC 
ANGE: GUS ANGELO 16|4 LOBDELL 

PL., LOS ANGELES 26, CALIF. 
AVER: RAY AVERYS RECORD ROUND 

UP, 1630 S. LA CIENEGA, LOS 

ANGELES 35, CALIF. 
BLAC: GORDON BLACKBURN I 07 I 7 

N.LIBYA, PORTLAND 3, OREGON 
BRAL: CLINTON BRALEY 1 260 

PURCHASE ST., NEW BEDFORD, MASS 
BROC: RAY BROEKEL 537a COLERIDGE 

PALO ALTO, CALIF. 
BRON: ED 3R0NNER lO W. ^6 ST., 

NYC 

CARV: OLIN G. CARVER 2||6 WEST 

AVE.,H, TEMPLE, TEXAS 
CIAR: ANTHONY P. CIARDI Ill9 

LUZERNE ST., SCRANTON 4, PA. 
CLAY: CHARLIE CLAYTON 35l0 

AVONDALE, ST LOUIS 20, MO. 
COAK: CHARLES E. COAKLEY 82 

CARROLL ST.,WATERTOWN,MASS. 
COHE: NORMA N COHEN 4622 N . WAR 

NOCK ST., PHILADELPHIA 40, PA. 
COST: M.T.COSTELLO 1 09 EDDY ST., 

SPR I NGF I ELD 4, MASS. 
COVE: BILL COVERDALE, P.O.BOX 

109, CHATTANOOGA, TENN. 
CRAW: HARRY CRAWFORD I 5 CHESTER 

WOOD AVE.,MT VERNON, NY 
CRAM: CHARLES CRANE 1 56 HICKS 

ST • , BKYN 2, NY 
CROS: E.B.CROSBY 55 RICE ST., 

SAN FRANCISCO, CALIF. 
CROU: V.H. CROUCH 5|4 W. D ST. 

ELI ZABETHTON, TENN. 
DAVI: CARLETON H. DAV|S | 20 

FOREST DR., ORCHARD DR., NY 
DE IT : GENE DEITCH 560 WEST- 
BOURNE DR., LOS ANGELES, CAL I F. 
UWEM: GEORGE DWENGER 2 EDGE- 
MONT RD. ,MONTCLAI R, NJ 
DYMI: WALTER DYMIT 2237 N. 73 

COURT, ELMWOOD PARK, ILL. 



FARM: MA RL I N K. FARMER I 80 I 

S • PENNSYLV AN I A , LA NS I NG,M I CH . 
FORR: BILL FORREST 35 W. 7| ST. 

NYC 

FRIS: CLARENCE FRISBY 592 MT. 

VERNON, DETROIT 2, MICH. 
GIOR: JOSEPH GIORDANA 357 W. 

37 ST., NYC 

GRAM: JOHN grhjms 2503 s. 7ST. 

SHEBOYGAN, WISCONSIN 
HEFF : H.HEFFRON 2445 I3TH 

AVE.,-SO.,MINNEAPOLI S 4, MINN 
HIGG: ROY HIGGINSON BOX 484 

CARLSBAD, CALIF. 
HOLB: RICHARD G. HOLBROOK 

GUARD HILL ROAD, BEDFORD 

VILLAGE, NY 
ICKS: ROBERT J. I CKS ROOM 1 200 

66 E. SOUTH WATER ST., CHI. 

I, ILL. 

KEND: BUD KENDALL 27 W. ST.,NW 

WASH |, D.C. 
KNEE: TED KNEEBONE BOX 1 46 

SISSETON, S.DAKOTA. 
KURZ: IRVING KURZMAN 1 904 

FLOYD AVE.,R I CHMOND 20, VA . 
LIQU: JOHN LIQUORi 4563 n. 

COLORADO, PHILA 40, PA. 

LUBI: r lubin 555 timpson pl 

NYC 55, NY 
MACD: 0 J MA CD0NALD I 7 1 0 S. 

ANDERSON, TACOMA 6, WASH. 
MAD I : JOSEPH MADISON 2825 

34TH AVE., SAN FRANCISCO I 6, 

CALIF. 

MAHO: DANIEL L. MAHONY 568 

WARBURTON A VE . , H AST I NGS ON 

HUDSON 6, NY 
MARC: CY MARCUS 25|6 CLARENDEN 

RD., BKLYN 3, NY 
MAYE: H MAYER 263 BALTIMORE 

A VE. , ELMONT L. I NY 
MCRE: A. MO REA SR., BOX I 38 

WESTVILLE, NJ 
MATT : MORTON P. MATTHEW 72 1 

THE ALAMEDA, BER KELEY , CA L I F . 
MCKU: JAMES MC KUNE I 79 MARCY 



26 



AVE., BKLN, NY 
MELT: SAM MELTZER 737 FOX ST., 
BRONX 55, NY 

MILL: A.O. MILLER 4| KATHERINE 

AVE. , SALINAS, CALIF. 
MORS: ROY MORSER BOX I 508, 

WILLIAMSBURG, VA . 
NY BE : I 0 1 8 AVE. K„, GALVESTON, 

TEXAS. (RAYMOND H. MYBERG ) 
ORLA: JMES ORLANDO, DICKERSON 

RUN, PA. 

ORR: JAMES M. ORR, 600 LAFAYETTE 

AVE., BUFFALO 9, NY 
PARR: SID PARRY 574 W. I 76 ST., 

NY 33, NY 
PAUL: CATHERINE H. PAUL I 30 
BEACH I 33 ST., BELLE HARBOR, 
L.I. , NY 
PHEL: JORDAN PHELPS I 228 TAYLOR 

ST., SAN FRANCISCO 8, CALIF. 
PIKE: GILBERT L. PI KE 10 

WINNEMERE ST., MALDEN 48, MASS. 
PING: ALAN C. P I NG PA NK 2435-43 

AVE., SAN FRANCISCO |6, CALIF. 
POWE: ROBERT POWELL 1 48-g- E. HIGH 

ST., EL I ZABETHTOWN, PA. 
PRAT: EDMUND W. PRATT 20 1 96 

PICCADILLY RD., DETROIT 2|,M|CH. 
QUIN: WILLIAM W. QU I NN 4406 

BROADWAY, GALVESTON, TEXAS. 
RATK: JOSEPH J. RATKOWSKI 1 05 

ENGERT AVE., BKLYN 22, NY 
RAWL : KENNETH RAWLINGS 302 W., 

MA IN ST., MILLVILLE, NJ 
RIEB: DICK RIEBER RD 5, RIDGE 

FIELD, CONN. 
RUBY: G N RUBY 190 COMMODORE 

BKWY, ROCHESTER |0, NY 
RUIZ: MANUEL E. RUIZ 758 N. 

SECOND ST., SAN JOSE II, CAL. 
SALM: ANDREW E. SALMIERI 74 1 2 

I2TH AVE., BROOKLYN 28, NY 
SCHR: BILL SCHROEDER 348 WOOD- 
LAWN AVE. , JERSEY CITY 5,NJ 
SHAW: LT. A. J. SHAW, NAS, 

ATLANTIC CITY, N.J. 
SMIT: bob smith, jr. 203 w. 

2ND ST., FREDERICK, MD. 
SOUT: JACK N. SOUTHER 333- 

4TH AVE., APT 2, SAN FRAN- 
CISCO 18, CALIF. 
STUR: RALPH J. STURGES 1 3 I WASH 

INGTON ST., HARTFORD 6, CONN. 
TOWM: R.W. TOWNSEND 5609 BRAMBLE 

AVE., CINCINNATI 27, OHIO 
VJR: VINYLITE JAZZ REISSUES 2|| 

E . |5 ST., NYC 



NOTE 



All persons using the medium of the Record 
Changer in the buying, selling or trading of phono- 
graph records, do so subject to these Rules and 
Regulations : 

1. A collector or person who solicits and receives 
advance remittance for a record must send the rec- 
ord within a period of four weeks. 

2. A collector or person who orders and receives 
a record prepaid must pay for it within a period of 
four weeks. 

3. A collector or person who obtains a record in 
trade must fulfill his end of the trade within 1 a 
period of four weeks. 

4. A collector or person who requests that a 
record be shipped C.O.D. must accept the shipment 
unless the shipment is damaged in transit. (A bid 



on an auction or an order from a sale which states 
that records will be shipped CO D. unless otherwise 
instructed, is considered a request for CO D. ship- 
ment. ) 

The name of the person or collector who violates 
the above rules will be printed in the Record 
Changer upon the first violation, and the violation 
will be described. (Exception: where breakage or 
over-grading is concerned the record is to be re- 
turned promptly to the shipper. If the parties in- 
volved do not arrive at a settlement, the matter is 
to be referred to the American Record Collectors 
Board. ) 

* * * 

When infractions of these rules occur, contact 
Jacob S. Schneider. Legal Dept., The' Record 
Changer, 128 West 66th St.. New York N Y 







WANG : IRV WANGROW 2533 buena vista 

DETRO IT 6, M I CH. 
W I AT : ALEXANDER T. WIATT, VETERIN 

ARY HOSPITAL 2900 VIRGINIA AVE., 

NEWPORT NEWS, VA. 
ZEIG: LES ZEIGER 1 056 SHERMAN AVE., 

NYC 56, NY 



CLOSING DATE FOR BIDS 
On all Records advertised 
for auction in this issue will 

be APRIL 20, 1949 

UNLESS OTHERWISE STATED 



FOR SALE 

THE LATE GEORGE W. THOMAS COLLECTION 
4000 OR MORE RECORDS, CONTAINING AB- 
OUT 2500 CLASSIC VOCALS, BY ALL THE 
FAMOUS SINGERS OF THE GOLDEN AGE OF 
OPERA, SOME WITH PHOTOS AND AUTOGRA- 
PHS. ABOUT 1500 RECORDS ARE INSTRU- 
MENTALS, FOREIGN AND DOMESTIC, MOST- 
LY AROUND THE |900'S. SEVERAL HUN- 
DRED ARE OLD JAZZ, H I LLB I LLY, AND OTH 
ER ODDITIES MIXED IN. ALL RECORDS 
ARE IN GOOD PLAYING CONDITION. TO BE 
SOLD AS IS, IN ONE LOT, TO THE HIGH- 
EST BIDDER. FOB SCOTTSVILLE, VA. 
INSPECTION INVITED AT ANY TIME, AND 
LIST WILL BE MAILED UPON REQUEST. 
RIGHTS RESERVED TO REJECT UNSATIS- 
FACTORY BIDS. ADDRESS ALL COMMUNICA- 
TIONS TO: 

NATHAN OWAROFF, SCOTTESV ILLE, VA. 



Jcr tfcut Convenience 

The Record Changer 

125 La Salle Street, New York City 27, N. Y. 



Please enter my subscription to your magazine for 

□ I year; □ 2 years; □ 3 years, 
my remittance is enclosed 



United States 


1 year. . 


$3.00; 


2 


years. . 


$5.50; 3 


years. . 


$7.50 


Canada 


1 year. . 


..$3.25; 


2 


years. . 


. $6.00; 3 


years. . 


$8.25 


Foreign 


1 year. . 


$3.50; 


2 


years. . 


$6.50; 3 


years. . 


$9.00 



Name 

Address 



27 



AUCTION 



ROBERT L. THOMPSON 



AUCTION 



106 WEST 105 ST., N.Y.C. 25, N.Y'. 
COND IT I ONS OF ALL RECORDS GUARANTEED AS I ND ICATED . MANY OF THE RECORDS MARKED N ARE ACTUALLY IN MINT CONDITION. WINNERS WILL BE 
NOTIFIED AT THE CLOSE OF THE AUCTION AND W I LL BE INSTRUCTED TO SEND PAYMENT PLUS POSTAGE AND 25,! PACKING CHARGE. RECORDS WILL 
THEN BE SHIPPED PARCEL POST INSURED. I PACK WELL AND HAVE NEVER HAD A PP BREAKAGE IN HUNDREDS OF SHIPMENTS IN THE PAST. PLEASE 
BIO BY THE NUMBER TO THE LEFT OF THE TITLES. MINIMUM BID 3 1.00. NO. MINIMUM ORDER. 



3ESSIE SMITH 

1. hustlin dan/black mt BL CO 14554 E 

2. AFTER YOUVE GONE/MUDDY WATER CO |4|97 E 

3. MY MAN BL/NOBOOYS BL B'JT MINE CO 14098 E 

4. RAINY WEATHER BL/SALT WATER BL CO |4037 V 

5. CHR I STU AN SALL/PREACHIN THE BL CO 35842 N 

JIMMY YANCEY(F|RST ONE WITH FABER SMITH 



6.1 RECEIVED LETTER/EAST ST LOUIS VO 5464 N 
7. YANCEY STOMP/STATE ST SPECIAL VI 26589 E 
8. OLD QUAKER Bl/bEAR TRAP BL VO 5490 N 

CLARENCE WILLIAMS BLUE 5 AND JUG BAND 

9. chizzlin sam(jus)/baby SATISFIEDCO 2829 N 

10. MANOY MAKE UP' YOUR MINd/bLACKB CO 35957 N 

MOUND CITY BLUE BLOWERS 
I I . IND lANA/FIRE HOUSE BL CO 1 946 E 

I2.HIGH SOCIETy/mUSKRAT RAMBLE DE 1274 N 
I3.0NE HOUR/HELLO LOLA BB 10037 E 

1 4. OA RKTOWN STRUTTERS BALL/u RASCAL0k4i 526 N 

JONES SMITH INCORPORATED 

I5.EVENIU/SH0E SHINE 30Y VO 3441 N 

i6.lady be good/boogie WOOGIE VO 3459 N 

WHOOPEE MAKERS 



I 7. BUGLE CALL RAG/ST LOUIS BL PE I 5 I 26 N 

18. TAKE IT EASY PE 14968 N 

TEDDY WILSON SCHOOL FOR P IANISTS 

19. THAT OLO FEELING/MY 3L HEAVEN I N 

20. TIGER RAG/LOCH LOMOND 2 N 
2| .ALICE BL GOWN/SEE U IN DREAMS 3 N 
22.C0QUETTE/CHINA BOY 4 N 

KING OLIVER 



23. TOO late/what do u want ME TO D0B87242 N 

24. st jaues inf/when YOURE SMILINGBB 5466 N 
25.IVE GOT THAT TH I Ng/fREAK I SH BL VI 3852l N 

26. RIVERSIDE Bl/mABELS DREAM SD |00 N 

27. CANAL ST BL/CHIMES BL J I IN 

28. DI PPERMOUTH BL/CAKE WALK I n( ROJB )UHCA 77 N 

JIMMY NOONE 

29. THEN YOURE DR'JNk/|M GO I N HOME BB 8649 N 

30. MOODY MELODY/THEY GOT MY NUMBERBB 8609 N 

3 I.DIXIE LEE /DELTA BOUNO VO 2620 E- 

32. EASY TO REMEMBER SOON VO 2907 E- 

33. HELL IN MY HEART/swEET LORRAINEDE 7553 N 

JONES COLLINS ASTORIA HOT EIGHT 

34. TIP EASY eL/DAUP WEATHER BB 10952 N 

BUNK JOHNSON'S BAND 

35. ST LOUIS BL/WHEN THE SAINTS GO AM 252 N 

36. TIGER RAG/SEE SEE RIDER AM 25 1 N 

37. LOWDOWN BL/YES YES IN YOURE EYESAM 253 N 

38. BURGUNDY ST/lCE CREAM AM 254 N 

39. PANAMA/«hEN U WORE A TULIP AM 255 N 

40. WALH THRU THE STREE Ts/DA RKTOWN AM 256 N 

JELLY ROLL MORTON 

4| .MAMAM I TA/35TH ST BL SO 1 0 1 N 

42. WININ BOy/hONKY TONK MUSIC JO II N 

43 . mushmouth shuffle/blueblood BL BB 8201 E- 

44. smoke house bl/steamboat st bb 8372 n 

45. shreveport/voom voom (ouke) bb 77i0 n 

46. cannon ball/grandpas SPELLS BB 10254 E- 
47. SEATTLE HUNCH/FREAKISH VI 27565 N 

48. TURTLE TWIST/SMILIN THE BL AWAYBB 10194 E- 

49. THE PEARLS/SEALE ST BL BB 10252 E 

50. BLACK BOTTOM ST/the CHANT BB 10253 E 
^ABOVE HAS RIM CHIP NOT INTO GROOVES ) 

5 1. WOLVERINE BL/MR JELLY LORD BB 10258 N 

52. WININ BOy/dIDNT HE RAMBLE BB 10429 E 

53. HIGH SOCIETY/BUDDY BOLDEN SAY BB 10434 E 

54. CLIMAX RAG/wEST END BL BB 10442 E 
55.8ALLIN THE JACK/DONT LEAVE ME BB 10450 N- 

MAGGIE JONES/CH IPPIE HILL (LOUIS) 

56. C00D TIME FLAT/PRATT CITY HRS DIV N 

WESLEY WALLACE/jABO WILLIAMS 

57. / 29/jAB BL j I 3 N 

WILD BILL DAVISON ON COLLECTORS ITEM. 

58. ON BL KICK/l SURRENDER DEAR COL ITEMI02 N 

ASES CHILENOS DEL JAZZ 19